Exhibitions and Events-News

Focusing on important exhibition and activity info of CAFA Art Museum, and updates the latest news of international museum industry.

Fan Di’an: Welcome to Explore the Secret Echoes of the Spirit of Anish Kapoor’s Art | Exhibition is Open to the Public on October 26 ...

2019-10-22

 Anish Kapoor solo exhibition in China  CAFA Art Museum & Taimiao Art Museum   CAFA Art Museum  2019/10/26 - 2020/1/1 Taimiao Art Museum 2019/11/11 - 12/28Mr. Anish Kapoor is a representative of contemporary Western art and also a renowned artist in the international contemporary art world. His works have been highlighted frequently in international art exhibitions, particularly those large-scale works towering in the urban public spaces, exerting a significant influence as a trans-century wonder of art. In Autumn 2019, his first large-scale retrospective art exhibition in China will be held simultaneously at CAFA Art Museum and the Taimiao Art Museum, which could be regarded as a spectacular journey of Kapoor’s art in China.Anish Kapoor, DestierroEarth, pigment and mechanical diggerDimensions variable©Anish Kapoor, 2019In the changing trend of Western art and culture at the end of 20th century, Kapoor’s art emerged with its ideas and forms showing both individuality and publicity. The interlacing of his rigorous thinking, mysterious fantasy and free imagination render his art beyond previous patterns, bursting out a luster of fresh perceptions, and becoming a cultural representation with multiple implications and abundant energy. Kapoor’s creation is rooted in ancient Indian philosophy. He integrates the spiritual core of Eastern culture with the modern symbolism of Western culture and establishes a unique relationship between material media and cultural metaphor, self-sufficient pattern and ecological environment. He advocates that color is baptism and belief, space is mind and soul, and material is in spiritual possession, which makes his works invite mysterious and powerful resonance force in the binary compound languages such as the material and immaterial, existence and transcendence, essence and extension. In the 1980s, Kapoor had become one of the representative artists of the “New British Sculpture”, and won the “Turner Prize” that manifests the spirit of western innovation and exploration. As his ideas correspond to and reflect the new cultural reality and cultural psychological signs in the global context, his art is widely accepted globally, resulting in a broad influence in cross-cultural communications.Anish Kapoor, Symphony for a Beloved Sun, 2013Stainless steel, wax, conveyer beltsPhoto credit: Dave Morgan ©Anish Kapoor, 2019The capability of the artists lies in the realization of a complex concept into a simple visual form and the application of the pure visual form in prompting the metaphysical implication. Kapoor is a master in grasping the relationship between purity and polysemy. He is good at using the space where the works are placed to create the site of generation of the works, producing illusive impressions and offering viewers with immersive perceptions. Some of the language signs belong to his specialities, such as the applying of red - a symbol of life origin, the powder that embodies the idea of “emptiness” and the “descension” that looks like a whirlpool, a cavern or a blackhole. The material and form he’s best at is his installation work of stainless-steel structure. This kind of works are extremely pure, always featuring a curved surface, thus making the bright and clean surface not only a shiny object itself but also a carrier of the surrounding landscape, while the phenomenon of refraction and reflection leads to a series of conversion from “ordinary” to “extraordinary”, producing a stunning “mirror image”.Anish Kapoor, Cloud Gate, 2001-2004Stainless steel25 x 15 x 12mMillennium Park, Chicago©Anish Kapoor, 2019Anish Kapoor, Non-Object (Spire), 2007Stainless steel302.3 x 300 x 300cmPhoto credit: Tim Mitchell©Anish Kapoor, 2019Anish Kapoor, C-Curve, 2007Stainless steel2.2m x 7.7m x 3mPhoto credit: Dave Morgan©Anish Kapoor, 2019Sky Mirror, 2006Stainless steelDiameter: 10 mPhoto credit: Tim Mitchell©Anish Kapoor, 2019Tsunami, 2018Stainless steelPhoto credit: Dave Morgan©Anish Kapoor, 2019Mr. Kapoor attaches great importance to the journey of his art in China, and planned and prepared for the show together with my colleagues, who are the show’s host. We both hope that the exhibition could academically present Kapoor’s main artistic achievements to date, and also build a site for direct experience of his large-scale works. Contemporary Chinese art, while basing itself on domestic innovation and development, still needs to keep an eye on the world, carry out extensive exchanges and form a profound cultural dialogue. Kapoor’s art is so intelligently responsive to the complexity of today’s world, and so wonderfully makes spectators perceive the metaphysical secret echoes of its spirit. This Autumn, in response to Kapoor’s wish to “invite people to explore”, let’s immerse ourselves in his grand art scene and have a free discussion.Fan Di’anDirector of Central Academy of Fine ArtsPresident of Chinese Artists AssociationOctober 2019Anish Kapoor, Sectional Body preparing for Monadic Singularity, 2015PVC and steel730 x 730 x 730 cmPhoto credit: Tadzio©Anish Kapoor, 2019Anish Kapoor, My Red Homeland, 2003Wax and oil-based paint, steel arm and motorDiameter: 12 m©Anish Kapoor, 2019Anish Kapoor, To Reflect an Intimate Part of the Red, 1981Mixed materials, color powder200 x 800 x 800cmPhoto credit: Andrew Penketh©Anish Kapoor, 2019 About the Exhibition Academic Consultant: Fan Di'an Artistic Director: Su Xinping Curatorial Advisor: Hans Ulrich ObristChief Curator: Zhang Zikang Curators: Wang Chunchen Yue Jieqiong Organizers: Central Academy of Fine Arts, Beijing Municipal Federation Trade Unions Co-Organizers: CAFA Art Museum, Taimiao Art Museum Chief Supporting Organization: Zhonghong Chuangyi (Beijing) Culture Development Co, Ltd.Supporting Organizations: Lisson Gallery, Galleria Continua and the British Council CAFA Art Museum | Time | 2019/10/25 - 2020/1/1Open to the public on 10/26| Opening Hours |Tuesday to Sunday 9:30-17:30(Last admission 17:00)/ Closed on Monday Taimiao Art Museum | Time | 2019/11/11-12/28| Opening Hours |9:00-17:00 daily(Last ticket purchase 16:30) Ticketing Information *  All kinds of ticket can be used throughout the exhibition starting 10/26.Scan the QR code to purchase ticketEarly-bird Ticket:90 yuan(Available from 2019/10/10-10/25)Adult ticket: 120 yuanDiscount ticket: 60 yuan(Please refer to discount ticket use policy below for eligibility)Family ticket: 260 yuan(2 adults and 1 child above 120 cm)*Group ticket: Groups of 10 or more may enjoy 20% discount off original price.Visitors with union membership card may enjoy 20% discount off original price.(Group ticket only available at the CAFAM front desk)For inquiries please call: 010-64771575 | Notes | * The ticket of Anish Kapoor exhibition at CAFA Art Museum is 120 yuan. Visitors with union membership card may enjoy 20% discount off original price, and visit the Anish Kapoor exhibition at the Taimiao Art Museum for free. Visitors to Taimiao without card could buy the bell exhibition ticket for 15 yuan, and enjoy the Anish Kapoor exhibition for free. The east and west side halls of Xiang Dian are open for free. Visitors may enter with 2-yuan palace ticket.* Teachers and students of CAFA, children under 120cm (adult company is required, and the adult needs to purchase ticket), elderlies above 60, military service men and disabled people may visit the exhibition for free.* Students above 120cm (graduates students included), visitors with CAFA Alumni Card, CAFAM VIP Card, CAFAM Membership Card and Museum Association Membership Card, museum employees may purchase discount ticket.Note: Free ticket and discount ticket can be purchased and verified upon showing credentials. CAFAM reserves the right for final explanation. More

Gu Yuan Art Exhibition Opens on October 16 ...

2019-10-16

Gu Yuan (1919-1996) is a famous artist Chinese artist and art educator. He was the director of the Central Academy of Fine Arts, deputy president of the China Artists Association, and deputy president of the China Printmaking Artists Association. In his art life that lasted for nearly half a century, Mr. Gu’s works clearly reflected his time, and sang praise of the modern Chinese printmaking development and New China’s art blossoming.In 1938, Mr. Gu Yuan left Guangzhou for Yan’an amid the flame of the War of Resistance against Japanese Aggression, with full-hearted enthusiasm for revolution and art. Using paint brush and burin, he rendered the heroic stories of Chinese soldiers and people’s fight against invasion. In 1939, he completed his first wood-engraving work, Marching of the Guerilla Force. He then began his creative practice under the oil lamp in the cave dwelling. He stuck to his position in northern Shaanxi Province, rooting his art creation deeply in the soil of the working people. He lived among and learnt from the working people, absorbing the truest nutrition. During his time at the Luxun Academy of Fine Arts, he created a great number of popular wood-engraving works, including “Chopping Grass”, “Studying in Winter”, “Suing for Divorce” and “Brother’s Vacation”. These works have become classic works of modern Chinese printmaking history today, and opened up a new chapter for Chinese modern printmaking. In 1942, after visiting the National Wood Engraving Exhibition, Xu Beihong wrote passionately: “I discovered a genius in the Chinese art circle, that is the big master Gu Yuan of the Chinese Communist Party.”After New China was founded, Gu Yuan rendered the magnificent natural landscape of China, the spiritual life of the people and the new look of China with broad vision, lyric touch and modest artistic language. He created a new visual form of New China, delivered a new aesthetic value, and became an important icon of the visual language of New China. The combination of reality, nationality and lyricism characteristic of his work has great influence on future generations. He is an outstanding realistic art master of the 20th century.The exhibition is titled after the title of Mr. Gu Yuan’s first exhibition in 1980s, which is handwritten by himself. In the 108 traditional style newspaper billboards, over 300 of Mr. Gu’s works are presented. The gallery’s theme color, Yan’an red, conveys Mr. Gu's modest and easy-going disposition, and brings the audience to his time. The curation tries to present the interactive relationship between the artist’s creation and the society, bringing the audience closer to “Gu Yuan” while inspiring their reflection on today's artistic development. Like Xu Bing wrote in his article Understand Gu Yuan: Do we have the clear concept and goal as what Gu Yuan and his generation did in their time? Do we have their sincerity for art?Mr. Gu Yuan's Former ResidenceMr. Gu Yuan's Former ResidenceSupport: China Federation of Literary and Art CirclesPresenter: Central Academy of Fine Arts|China Artists AssociationCo-presenter: Gu Yuan Museum of Art|Hunan Fine Arts Publishing HouseOrganizer: CAFA Party Committee | CAFA Art Museum | Department of Printmaking, School of Plastic Arts, CAFATime: 2019/10/16-11/26Place: Gallery 2B, CAFA Art Museum More

Anish Kapoor’s First Solo Museum Exhibition in China Opens in October ...

2019-10-12

 Anish Kapoor  CAFA Art Museum & Taimiao Art Museum  CAFA Art Museum (CAFAM) 2019/10/25 - 2020/1/1Preview Day: 10/25Public Opening: 10/26 Taimiao Art Museum  2019/11/11 - 2019/12/28Public Opening: 11/11Internationally celebrated British artist Anish Kapoor will open a major solo exhibition in Beijing this October. As Kapoor’s first solo museum show in China, the exhibition will present some of the artist’s most significant and celebrated works of his last 35 years. The exhibition at CAFA Art Museum will open on October 25, featuring the artist’s powerful, self-generated installations; the exhibition that will open on November 11 at Taimiao Art Museum of Imperial Ancestral Temple will show his sensorial, geometrical sculptures.Fan Di’an, President of China Artists Association and Director of the Central Academy of Fine Arts (CAFA), is the academic supervisor of the exhibition. Deputy Director of CAFA Su Xinping is the art director, CAFAM Director Zhang Zikang the chief curator, and CAFAM Deputy Director Wang Chunchen and Executive Director of Taimiao Art Museum Yue Jieqiong the curators. The exhibition also invites artistic director of the Serpentine Galleries, London, Hans-Ulrich Obrist to be its curatorial consultant. The exhibition is a deep exploration of Kapoor’s visual art language, as well as an important witness of China-UK cultural exchange.Anish Kapoor, Symphony for a Beloved Sun, 2013Stainless steel, wax, conveyer beltsPhoto credit: Dave Morgan ©Anish Kapoor, 2019The exhibition at the contemporary architecture CAFA Art Museum will present the dramatic and performative properties of Kapoor’s work, and focus on four of the most important works of the artist’s. The 2013 work Symphony for a Beloved Sun, exhibited at Martin-Gropius Bau in Berlin, will meet the public with a new look at the museum lobby. On the third floor gallery, there will display Kapoor’s debut exhibit at the Palace of Versailles in 2015, Sectional Body preparing for Monadic Singularity. The neighboring space will show Destierro, the industrial landscape work he showed in 2017 at Argentina’s Parque de la Memoria, or Memory Park, which features a lonely, ultramarine bulldozer in contrast with hundreds of tons of red earth. On the fourth floor of the museum, the automatic installation work My Red Homeland (2003) will be exhibited.Anish Kapoor, Sectional Body preparing for Monadic Singularity, 2015PVC and steel730 x 730 x 730 cmPhoto credit: Tadzio©Anish Kapoor, 2019Anish Kapoor, DestierroEarth, pigment and mechanical diggerDimensions variable©Anish Kapoor, 2019Anish Kapoor, My Red Homeland, 2003Wax and oil-based paint, steel arm and motorDiameter: 12 m©Anish Kapoor, 2019Except for these large-scale installation works, Kapoor will also exhibit models of the important public sculptures of his decades-long art practice, including the Cloud Gate (2004), Orbit (2010), Scheme for South Bank Centre (2001), Subway Stations, Monte Sant'Angelo, Naples (1999-2002), and the 56 Leonard Street sculpture model to be exhibited in New York this October.Sky Mirror, 2006Stainless steelDiameter: 10 mPhoto credit: Tim Mitchell©Anish Kapoor, 2019Tsunami, 2018Stainless steelPhoto credit: Dave Morgan©Anish Kapoor, 2019The other part of the solo exhibition will take place at the Taimiao Art Museum of Imperial Ancestral Temple, which belongs to the Forbidden City architecture group. The 600-year-old Taimiao is composed of buildings and courtyards of large volume. By reflecting and refracting the space using a series of stainless steel and pigment sculptures, Kapoor is having an unprecedented dialogue with the magnificent architecture and the history. His most impactful, interactive pair of works, S-Curve (2006) and C-Curve (2007) will be placed in the mid-court of Taimiao. “S-Curve” is a S-shaped sculpture formed by two seamlessly connected stainless steels. “C-Curve” is one large piece of curved stainless steel. The two art works, respectively in convex and concave shapes, directly reflects and retracts landscape around them. Located around these works is another group of important stainless steel sculptures by Kapoor, including Non-Object (Spire) (2008), and Non-Object (Door) (2008). These works show its environment up-side-down, make the audience immerse in the surrounding architecture and environment, and challenge the audience’s conceptive experience.Anish Kapoor, Svayambhu, 2007Wax and oil-based paintDimensions variablePhoto credit: Dave Morgan©Anish Kapoor, 2019Pigment sculptures will be exhibited in the two side halls of Taimiao Art Museum’s Xiang Dian. Kapoor’s use of pigment is the foundation of many of his original works. He quickly rose to fame with the 1000 Names series (1979-1982) due to its innovative use of pigment. Other pigment sculptures that ensued, including the Angel (1990) in blue and the To Reflect an Intimate Part of the Red (1981) in a variety of colors and shapes, will appear in this exhibition. The varied art works will fill the ancient architecture space. All kinds of shapes will put the audience in a daze.Leviathan, 2011PVC33.6 x 99.89 x 72.23 mExhibited at Grand Palais during the Monumenta, 2011Photo credit: Dave Morgan©Anish Kapoor, 2019The exhibition is co-organized by Central Academy of Fine Arts and the Beijing Municipal Federation Trade Unions, and co-hosted by the CAFA Art Museum and the Taimiao Art Museum. We would like to extend special thanks to our chief supporting organization Zhonghong Chuangyi (Beijing) Culture Development Co, Ltd., and other supporting organizations Lisson Gallery, Galleria Continua and the British Council. About the Artist Anish KapoorPhoto credit: Jillian EdelsteinAnish Kapoor was born in Mumbai, India in 1954 and lives and works in London. He studied at Hornsey College of Art, London, UK (1973–77) followed by postgraduate studies at Chelsea School of Art, London, UK (1977–78). Recent solo exhibitions include CorpArtes, Santiago, Chile (2019); Pitzhanger Manor and Gallery, London, UK (2019); Serralves Museum, Porto, Portugal (2018);  'Descension’' at Public Art Fund, Brooklyn Bridge Park Pier 1, New York, NY, USA (2017); Parque de la Memoria, Buenos Aires, Argentina (2017); MAST Foundation,Bologna, Italy (2017); Museo Universitario Arte Contemporáneo (MUAC), Mexico City, Mexico (2016); Couvent de la Tourette, Eveux, France (2015); Château de Versailles, France (2015) and The Jewish Museum and Tolerance Center, Moscow, Russia (2015). He represented Britain at the 44th Venice Biennale in 1990 with Void Field (1989), for which he was awarded the Premio Duemila for Best Young Artist. Kapoor won the Turner Prize in 1991 and has honorary fellowships from the University of Wolverhampton, UK (1999), the Royal Institute of British Architecture, London, UK (2001) and an honorary doctorate from the University of Oxford, UK (2014). Anish Kapoor was awarded a CBE in 2003 and a Knighthood in 2013 for services to visual arts. Large scale public projects include Cloud Gate (2004) in Millennium Park, Chicago, USA and ArcelorMittal Orbit (2012) in the Queen Elizabeth Olympic Park, London, UK. About the Organizers ╱CAFA Art MuseumThe history of the CAFA Art Museum can be traced back to the early 1950s. Originally called the Central Academy of Fine Arts Gallery, it was located on Wangfujing, Beijing. Designed by the noted architect Zhang Kaiji, the Gallery was the first professional art museum built after the establishment of the People’s Republic of China. In 1998, the Gallery changed its name to the CAFA Art Museum. In October 2008, the museum moved to the No. 8 Huajiadi South Street in Beijing’s Chaoyang District, with a new building designed by the noted Japanese architect Arata Isozaki. In the end of 2010, the CAFA Art Museum was selected to be one of the firsts to be listed as the Key National Museums. The CAFA Art Museum is a professional and international modern art museum that conducts academic research, presents exhibitions, restores artworks and provides art education. The museum upholds the philosophy of open-mindedness and is rooted in the concept of using knowledge to serve society. It aims to bridge the past and the future through presenting great artistic and cultural accomplishments of our humanity, and share the culture of our times with all quarters of society.╱Taimiao Art MuseumThe Taimiao Art Museum is located in the Forbidden City architecture group, China’s highest-ranking architecture group that has lasted for 600 years. It is a combination of magnificent building, rich history, profound background and spirit of the era, an artistic and cultural palace of the new time against the ancient royal architectural background established in the Ming and Qing dynasties.The Taimiao Art Museum is co-operated by the Beijing Municipal Federation Trade, the Beijing Working People’s Cultural Palace and the Central Academy of Fine Arts. It has functions including exhibition, collection, research, public education and domestic and international cultural exchange, and keeps improving its operation mechanism and organization structures with high standard of sociability, professionalism and social benefits. About the Exhibition Academic Consultant: Fan Di'an Artistic Director: Su Xinping Curatorial Advisor: Hans Ulrich ObristChief Curator: Zhang Zikang Curators: Wang Chunchen Yue Jieqiong Organizers: Central Academy of Fine Arts, Beijing Municipal Federation Trade Unions Co-Organizers: CAFA Art Museum, Taimiao Art Museum Chief Supporting Organization: Zhonghong Chuangyi (Beijing) Culture Development Co, Ltd.Supporting Organizations: Lisson Gallery, Galleria Continua and the British Council CAFA Art Museum | Time | 2019/10/25 - 2020/1/1Open to the public on 10/26| Opening Hours |Tuesday to Sunday 9:30-17:30(Last admission 17:00)/ Closed on Monday Taimiao Art Museum | Time | 2019/11/11-12/28| Opening Hours |9:00-17:00 daily(Last ticket purchase 16:30) Ticketing Information *  All kinds of ticket can be used throughout the exhibition starting 10/26.Scan the QR code to purchase ticketEarly-bird Ticket:90 yuan(Available from 2019/10/10-10/25)Adult ticket: 120 yuanDiscount ticket: 60 yuan(Please refer to discount ticket use policy below for eligibility)Family ticket: 260 yuan(2 adults and 1 child above 120 cm)*Group ticket: Groups of 10 or more may enjoy 20% discount off original price.Visitors with union membership card may enjoy 20% discount off original price.(Group ticket only available at the CAFAM front desk)For inquiries please call: 010-64771575 | Notes | * The ticket of Anish Kapoor exhibition at CAFA Art Museum is 120 yuan. Visitors with union membership card may enjoy 20% discount off original price, and visit the Anish Kapoor exhibition at the Taimiao Art Museum for free. Visitors to Taimiao without card could buy the bell exhibition ticket for 15 yuan, and enjoy the Anish Kapoor exhibition for free. The east and west side halls of Xiang Dian are open for free. Visitors may enter with 2-yuan palace ticket.* Teachers and students of CAFA, children under 120cm (adult company is required, and the adult needs to purchase ticket), elderlies above 60, military service men and disabled people may visit the exhibition for free.* Students above 120cm (graduates students included), visitors with CAFA Alumni Card, CAFAM VIP Card, CAFAM Membership Card and Museum Association Membership Card, museum employees may purchase discount ticket.Note: Free ticket and discount ticket can be purchased and verified upon showing credentials. CAFAM reserves the right for final explanation. More

“大美之艺——中央美术学院的艺术创造与美育影响” 正式开展 ...

2019-08-30

习近平总书记给中央美术学院老教授回信一周年专题展览2018年8月30日,在中央美术学院建校100周年之际,中共中央总书记、国家主席、中央军委主席习近平给中央美术学院老教授回信,充分肯定我校艺术家和艺术教育家辛勤耕耘,致力教书育人,专心艺术创作,为党和人民作出了重要贡献。回信指出美术教育是美育的重要组成部分,对塑造美好心灵具有重要作用。强调做好美育工作,要坚持立德树人,扎根时代生活,遵循美育特点,弘扬中华美育精神,让祖国青年一代身心都健康成长。希望我校坚持正确办学方向,落实党的教育方针,发扬爱国为民、崇德尚艺的优良传统,以大爱之心育莘莘学子,以大美之艺绘传世之作,努力把学院办成培养社会主义建设者和接班人的摇篮。值此总书记回信一周年之际,中央美术学院联合相关单位,共同举办《为新中国造型——周令钊先生百岁艺术展》及《大美之艺——中央美术学院的艺术创造与美育影响》两个重要展览,以此庆祝中华人民共和国成立70周年。大美之艺中央美术学院的艺术创造与美育影响展览时间:2019年8月29日-10月7日展览地点:中央美术学院美术馆3B展厅2019年8月29日下午,由中央美术学院主办的“大美之艺—中央美术学院的艺术创造与美育影响”专题展开幕式在中央美术学院美术馆举行。百年前,中央美术学院的前身——国立北京美术学校,在蔡元培倡导“美育”下建立。2018年8月30日,习近平总书记给中央美术学院8位老教授亲切回信,信中指出“美术教育是美育的重要组成部分”,并提出要“遵循美育特点,弘扬中华美育精神”,并勉励中央美术学院“以大爱之心绘传世之作,以大美之艺育莘莘学子”。值此习近平总书记给中央美术学院老教授回信一周年之际,中央美术学院特此举办“大美之艺——中央美术学院的艺术创造与美育影响”,首次从美育角度全方面梳理中央美术学院的百年艺术创造成果,彰显“大美之义”的丰富内涵与美育价值。百年来,中国社会发展波澜壮阔,革命道路艰难曲折,中央美院师生肩负起民族的文化使命,回应社会的审美期待,创作的大批优秀艺术作品体现了中华民族对美的事物、美的生活和美的境界的向往,发挥着积极地社会功能和美育影响,许多作品已成为现代中国美术经典,被各大博物馆、美术馆收藏陈列或矗立于公共空间,发挥着营造社会文化氛围、满足人民群众文化需求、提高公众审美水平的积极作用。本次展览回顾百年美院的创作历程,汇集了大量中央美术学院师生创作的经典作品,首次全方面梳理中央美术学院的经典艺术创造和美育影响。作品分成六个版块展出,分别是“第一板块:文化启蒙之美”“第二板块:正义抗争之美”“第三板块:屹立东方之美”“第四板块:劳动创造之美”“第五板块:天地自然之美”“第六板块:时代新貌之美”,多维度展现中央美术学院创造的“大美之艺”,同时编印了同名大型精品画册。板块一  文化启蒙之美回顾中国现代美术教育初萌时期的美育理想。现代美术教育在五四新文化运动背景下,一开始就带有鲜明的美育意识,尤其以文化启蒙的理想贯穿于美术创作之中。无论是中国画还是油画、雕塑,关切现实、关注民生、讴歌进步、鞭挞黑暗的美术创作便成为主流,表现普罗大众的现实主义艺术思想和“到民间去,使民众艺术化”的艺术理想使美术作品发挥出文化启蒙的意义。1930-1933年 徐悲鸿 傒我后 布面油彩 230×318cm 徐悲鸿纪念馆藏20世纪40年代 林风眠 女半身像 37x41cm 纸本设色 中央美术学院美术馆藏1947年 徐悲鸿 立马 109x53.3cm 纸本水墨 中央美术学院美术馆藏1920年 郑锦 玉兰孔雀 167x72cm 绢本工笔设色 中央美术学院美术馆藏板块二  正义抗争之美展现中华民族奋起反抗侵略、争取民族独立和解放的壮美篇章,中央美术学院的前辈艺术家以刀笔为武器,投身于抗日战争的烽火硝烟,表现出极大的民族义慨和正义抗争的不屈精神,在美术创作上谱写出可歌可泣的丹青壮歌。正义抗争之美是饱满的精神之美,是充满社会责任感和现实关切的良心之美;正义抗争之美也是力量之美、崇高之美,还富有沉重之美、悲剧之美。1957年 李斛 广州起义 139x302cm 纸本设色 中央美术学院美术馆藏20世纪40年代 齐振杞 会战 64x85.8cm 布面油彩 中央美术学院美术馆藏1938年 李桦 怒吼吧中国 27.5x18.7cm 黑白木刻 中央美术学院美术馆藏1941年 彦涵 彭德怀将军 22x16cm 黑白木刻 中央美术学院美术馆藏板块三  屹立东方之美汇集了1949年中华人民共和国的成立初期的经典作品。新中国屹立东方、中国人民站起来的伟大胜利需要以美术的方式来表现,反映时代变迁、塑造国家形象成为中央美院师生的自觉责任,创作了一大批最具有公共审美价值的作品,发挥了最为广泛的美育作用。屹立东方之美是大国之美,展现出昂扬向上的大国风采;屹立东方之美也是气象之美,充满了中华民族团结奋进的精神气象。人民英雄纪念碑 天安门广场的人民英雄纪念碑,其浮雕创作,是中国现代雕塑史上一次最重要的活动,代表了50年代中国雕塑艺术的最高水平,也是中国革命历史题材创作的里程碑。参与草图设计:吴作人、彦涵、王式廓、艾中信、董希文、李宗津、冯法祀、王琦等。浮雕创作:刘开渠、曾竹韶、傅天仇、王临乙、滑田友、萧传玖、王丙召、张松鹤 。王临乙 人民英雄纪念碑浮雕—五卅运动 1958 年 汉白玉 200×348cm滑田友 人民英雄纪念碑浮雕—五四运动 1958 年 汉白玉 200×355cm刘开渠 人民英雄纪念碑浮雕—胜利渡长江 1958 年 汉白玉 200×640cm1953年 董希文 开国大典(复制品) 230x400cm 布面油彩 原作藏于中国国家博物馆1953年 叶浅予 民族大团结二 228x307cm 绢本设色 中央美术学院美术馆藏板块四  劳动创造之美展现了新中国美术在为人民服务方向引导下,表现劳动人民的众多经典力作。新中国成立以来,从工厂到农村,从首都到边疆,都是中央美院的教学课堂,也都是中央美院师生的创作现场,为中国美术历史增添了表现劳动创作之美的时代篇章,也在世界美术之林展现出中国美术独特的文化风采。劳动创造之美,美在典型的形象和真实的场景。劳动创造之美,美在朴素的情感和真切的语言。它们是时代景象的视觉再现,也因为带着浓郁的现实感受而引起人的亲切共鸣,在美育中产生了隽永的影响。1950年 吴作人 特等劳动英雄李永像 128x160cm 布面油彩 中央美术学院美术馆藏1951年 林岗 群英会上的赵桂兰 138x176cm 绢本设色 中央美术学院美术馆藏1957年 詹建俊 起家 140x348cm 布面油彩 中央美术学院美术馆藏1962年 王文彬 夯歌 156x320cm 布面油彩 中央美术学院美术馆藏板块五  天地自然之美展现了艺术家对于自然美的表现和对于生命的热爱。现代以来的中国美术在表现天地自然之美上秉承的是堪称“永恒”的传统,但在艺术社会学和笔墨本体两方面都呈现出鲜明的新质。1949年以后,中央美院的师生们更是坚持走向自然,在描绘天地自然中赋予时代的象征意义。“笔墨当随时代”的追求在对天地自然的艺术表达中宽阔的展开。通过美术作品认识天地自然之美,感受祖国的壮丽河山和丰富景象,体察万物的生命意态和蓬勃生机,对于心灵的净化和精神的升华产生着潜移默化的作用。1983年 李可染 满目春山夕照明 70x46.5cm 纸本设色 中央美术学院美术馆藏1991年 张凭 砥柱 180x180cm 纸本设色 中央美术学院美术馆藏1998年 闻立鹏 迎冬 42x84cm 布面油彩 中央美术学院美术馆藏板块六  时代新貌之美展示的是改革开放以来特别是新时代中央美术学院新的艺术成就。作为美术创作的国家队,中央美院坚持弘扬优良艺术传统,倡导艺术探索创新,形成了以现实主义艺术思想为主导、多种风格相竟发展的态势,为社会美育提供了大量新的资源,极大地拓展了新时期社会审美的维度。中央美院师生注重立足中国大地,表现中国主题,在重大主题创作和国家重大设计任务中,创作了一大批具有新时代气象和中国气派的精品力作;在社会公共艺术领域坚持文化为上,品质优先,为艺术普及、美化环境发挥了作用;在艺术与科技的结合上走在前沿,拓展了艺术表现力和审美体验。1988年 徐冰 析世鉴——天书 木版印刷、装置1990年 韦启美 附中的走廊 118 x140cm 布面油彩 中央美术学院美术馆藏2008年 中央美术学院设计团队 北京奥运会奖牌设计2022年 林存真 北京冬奥会、冬残奥会会徽设计2019年 刘波及其设计团队 庆祝中华人民共和国成立70周年活动标识设计“大美之艺——中央美术学院的艺术创造与美育影响”的举办,不仅从美育贡献的角度回首艺术创作的社会效益和文化价值,使我们更加明晰新时代中国美术和美术教育的发展方向,同时也使我们认识到“以大爱之心育莘莘学子,以大美之艺绘传世之作”的重要意义。优秀的艺术作品只有在人民喜闻乐见的欣赏中,饱含对生命的的热爱、创作的激情和强烈的社会责任感、正义感,才能拥有永久的生命力。美的巡礼从历史向未来延伸,让我们看到美的创造与美育的价值紧紧相连。中央美术学院也将继续坚持“与时代同步伐,以人民为中心,以精品奉献人民,用明德引领风尚”,使美术人才培养和美术创作为中国美育事业的发展作出新的贡献。本次展览将持续至10月7日。编/吴靖图/李标展览现场 More

CAFAM Public Education Events (July - October 2019) ...

2019-07-11

Public Education Series Events for "Leandro Erlich: The Confines of the Great Void" Exhibition More

CAFAM Upcoming Exhibitions (July - September 2019) ...

2019-07-10

Closing Notice (Jun 26 - Jul 10 2019) ...

2019-06-25

CAFAM will be temporarily closed from Jun 26 to Jul 10. The new exhibition "Leandro Erlich: The Confines of the Great Void" will open on Jul 11. More

Early Bird Ticket | Leandro Erlich: The Confines of the Great Void ...

2019-06-25

On July 11, an illusionary, deconstructed, subversive world of visual art will unfold in front of you. More

“Pioneering: Chinese Artists Abroad in France and Chinese Modern Art (1911-1949)” Exhibition Tour Opens at Long Museum Chongqing ...

2019-06-25

The exhibition tour of “Pioneering: Chinese Artists Abroad in France and Chinese Modern Art (1911-1949)” opened at Long Museum Chongqing on June 18, 2019. More

“Four Stanzas on Aspiration: Traces of Li Hu’s Art” Exhibition Tour Opens in Hebei ...

2019-06-18

The exhibition tour of “Four Stanzas on Aspiration: Traces of Li Hu’s Art”, hosted by Central Academy of Fine Arts (CAFA) and Shijiazhuang Art Museum, opened in Hebei Province on June 14 as scheduled after months of careful preparation. Mr. Li Hu was an artist as well as an art educator who had made great contributions to the innovation of Chinese painting after Xu Beihong and Jiang Zhaohe. He “uses Western painting skills to sketch with Chinese ink on rice paper” in an earlier time. On the one hand, he followed Xu Beihong and advocated his artistic concept of integration of Chinese and Western paintings; on the other hand, he took the plunge to seek innovation and practiced the modern transformation from the tradition, being a practitioner and pioneer in the process of exploring new ways and forms of Chinese painting.Wang Chunchen, Deputy Director of CAFA Art Museum; Han Feng, Vice Chairman of Hebei Art Association; Jin Rui, Professor of Chinese Painting College of CAFA; Wang Fuming, Director of the School of Design of Hebei Normal University; Cao Qinghui, Professor of CAFA and curator of this exhibition; Li Yaochen, Director of the Department of Collections at the CAFA Art Museum; Nie Shufa, Director of School of Art of Hebei University of Economics and Business; Mr. Li Hu’s children (Li Fan, Li Rong, Li Yun), and other guests attended the opening ceremony. Wang Chunchen, Deputy Director of CAFA Art Museum, was delivering a speechWang Chunchen, Deputy Director of CAFA Art Museum, talked about in his speech the deep friendship between CAFA Art Museum and Shijiazhuang Art Museum, and mentioned that Li Hu was a practitioner, pioneer and educator of Chinese figure painting creation and innovation in the history of Chinese modern art. Due to his untimely death, he was ignored by the public, yet through sorting out and presenting Li Hu’s artworks, the public can have some understanding of his achievements. At the same time, the research and discussion on Li Hu also enable us to re-recognize or re-think Chinese painting today, particularly the creation process of figure painting. Drawing nutrition from the tradition and taking an original road should be the only way and also the inevitable trend for the development of Chinese painting.Zhao Zhitian, member of China Artists Association and national first-class artist of Beijing Fine Art Academy, was giving a speech Han Feng, Vice Chairman of Hebei Art Association, was giving a speechFu Yixin, Professor of Tianjin Academy of Fine Arts, Professor of the Institute of Literature and Art at the Minzu University of China, member of China Artists Association and Chinese Calligraphers Association, was giving a speech Li Fan was giving a speech on behalf of Li Hu’s familyBai Liansheng, Representative of Hebei alumni of CAFA, was giving a speechCao Fengxiang, Deputy Director of Shijiazhuang Art Museum, served as the hostLi Hu was born in Sichuan on September 20, 1919, and died in Beijing on November 10, 1975, at the age of 56. During his fifty-six years alive, he not only had lived through bitter years when the Chinese nation was struggling to save the nation at the most dangerous time but also the passionate years when the Chinese people made great efforts to build an independent socialist country at a price under the leadership of the Communist Party. The fifty-six years of his life were exactly overlapping the half a century of Chinese society in the turbulent currents of the 20th century, with which his life path and artistic career rose and fell, leaving behind thousands of paintings for later generations. This exhibition presents more than 100 works and literature to comprehensively show Mr. Li Hu’s life and artistic aspiration, which will have profound practical significant for us to study and carry forward Mr. Li Hu’s artistic spirit of advocating both virtue and skills, and also bring new enlightenment for us to think about the teaching and reform of Chinese painting.The exhibition runs until July 3.Translated from the Chinese text edited by Wu Jing Photos by Li BiaoExhibition site| Exhibition Photos || Exhibition Information |Dates: June 14 – July 3, 2019Venue: Gallery 1 & 2 & 3, Shijiazhuang Art Museum 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.

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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.

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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.

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Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

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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.

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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.

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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):

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(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.

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(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.

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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).

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Use in perpetuity.

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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.

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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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