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.

: Upcoming Museum Sim Lets Players Combine Artifacts to Tell Cool Stories

2019-11-15

Finally, a museum-themed sim is about to come. Naming the sim Mondo Museum, its designer Michel McBride-Charpentier said it’s intended to represent an ideal version of what museums can be.In the game that is scheduled to come in 2020, players will build and curate museums, mixing and matching artistic and historic objects. McBride-Charpentier said that the game won’t feature any fictional art or fictional history. What’s more, the sim will encourage players to contextualize history by combining different objects across time and regions. For example, McBride-Charpentier plans to put in the game a collection of space-related objects, and players could combine models of the solar system with artifacts from ancient Egypt to show how Egyptians understood astronomy. “The goal is to get players to seeing these relationships between items from separate collections and how they might combine together.” McBride-Charpentier said.McBride-Charpentier said he was inspired by his research trips to prestigious museums in the United States and Canada, especially how those museums mix a variety of objects together. But he also emphasized that the game won’t reflect what the museums currently are, but will be “a more utopian version of what museums should be like” - for example, there won’t be security guards in the game, and players will have to manage the wear and tear on exhibits from handsy visitors themselves; and the game won’t uphold the often exclusionary system of large museums, including the practice of holding onto artifacts that were looted from their countries of origin. If players want to showcase objects from different origins, they will have to ask loans from museums where these items rightly belong, and in order for the loan to succeed, players also need to have their museums checked by the museum directors, to see if it’s good enough to display their items.McBride-Charpentier said he wants to create a game that both satisfies management sim diehards and helps players to see real-life museums in a new light.Source | KotakuAuthor | Gita JacksonEditor | Lu Yufan
More

: CAFAM Opens 3rd EAST Art x Technology Season

2019-11-14

EAST-Art x Technology Season Opening Ceremony The 3rd EAST Art x Technology Season Opening Ceremony was held at CAFA Art Museum on November 15, 2019.The event is hosted by CAFA, and organized by CAFA Visual Art Innovation Institute, CAFA School of Experimental Art and CAFA Art Museum. This year’s Art x Technology Season’s theme is “Global Technological Art Panorama of the New Era”, which would further summarize the latest research results and creations in the field of technological art in the world, discuss relevant experience and methods in global technological art education, and exchange views on how to build technological art teaching system in China, how to combine technology and art and how to apply the results of technological art creations, so as to promote the academic development in technological art education in China.Researchers, creators and principals from the University of Chicago, the New York University, the University of Copenhagen, the Welcome Trust and other universities and institutions participated the opening ceremony together with Chinese schoars.Except for announcing the initiation of the 3rd EAST Art x Technology Season, the ceremony also presents two special highlights.Highlight 1: Initiation of the 2020 Asia Digital Art ExhibitionThe first Asia Digital Art Exhibition was held in Haidian District, Beijing in May. The exhibition showcased over 30 artists from 10 countries and regions, presented the resonance between Asian culture and digital technology. In 2020, the exhibition will continue to present the latest results of Asian culture and technological art. The Asia Digital Art Exhibition and the EAST share the same mission and goal, that’s why CAFA announced the 2020 Asia Digital Art Exhibition at the opening ceremony of the EAST. The exhibition invited Professor Qiu Zhijie to be its curator, and invited artists, researchers, scientists and technological companies to participate, to together build a new platform that build cultural consensus and facilitate technological and cultural innovation.Highlight 2: Multimedia Opening Performance - Time Brings Great Changes to the WorldThe opening ceremony also invited Chinese multimedia art team Blackbow to do an opening performance titled “Time Brings Great Changes to the World”. The interactive installation was co-created by Professor Qiu Zhijie and Mr. Wang Zhi’ou, leader of Blackbow. It caught the keywords in the speeches at the ceremony real-time, and showed them successively in the four-fold landscapes respectively named “Characters”, “River”, “Lake” and “Mountains”. Each layer represented a different thinking dimension of the topics involved in the ceremony. As the keywords keep add up, the rivers, mountains and lakes they corresponded to extended, mounted and expanded, so as to visually present the sparks of ideas of the participating guests. EAST Schedule The EAST-Technology x Art Season take place in Beijing, Shanghai and Shenzhen at the same time. Lectures and workshops that have been held include “VR and Art in Reverse”, “Editable Future: The Technical, Ethical, Legal and Artistic Perspectives of Gene Editing”, “Gene Editing Workshop”, “Tencent Game and Creative Product Workshop”, “Machine Learning Workshop”. Exhibitions include “40 Years of Humanizing Technology” and “Mind the Deep: Artificial Intelligence and Artistic Creation”. On November 15-17, the International Conference on Education, Art, Science and Technology and Enterprise Innovation Forum were also held.
More

: Anish Kapoor Exhibition Opens in Taimiao

2019-11-12

British artist Anish Kapoor's first large-scale solo exhibition in China, jointly held by CAFA Art Museum and Taimiao Art Museum, opened recently.
More

: Anish Kapoor Artist Talk

2019-11-07

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

: This Wall Was Made for Walking

2019-11-06

A wall that walks - this is the latest work by British sculptor, photographer and environmentalist Andy Goldsworthy at the Nelson-Atkins Museum of Art in Kansas City, Missouri. Through five stages from March to December, Goldsworthy’s team would move the 100-yard wall inch by inch from an open lawn east of the museum to the museum’s Bloch Building. The wall will then become the museum’s permanent collection.Photo via the artist's websiteWhen Goldsworthy conceived the idea of the “Walking Wall”, it was before US President Donald Trump made a border wall his signature campaign issue, but at the time the work began taking place, people came up to the artist commenting on it as a “political statement”. “It’s nothing to do with it but everything to do with it,” Goldsworthy responded in an interview with PBS News Hour. The walls are witness of history. In Britain, many of the walls date to the Enclosure Acts, when people were put off the land and a lot of them came to America. In Germany, the wall separated East and West Berlin, with some sections still stand today as a reminder of history. And the meaning of Goldsworthy’s “Walking Wall” is more than political or historical. At Stage Two, the wall blocked a four-lane commuter route. For three weeks, people had to take a detour. There were of course unhappy people, but some also said it was interesting, and inspired them to think about their daily boundaries. The work also challenges how the museums interact with the community - rather than trying hard to attracting people to walk inside, the Nelson-Atkins intruded into the public space with its artwork. Photo via the artist's websiteAs an artist, Mr. Goldsworthy is best known for ephemeral works that he creates using materials found in nature. His works are mostly site-specific sculptures and land art situated in natural and urban settings.Source | The New York Times & PBS News Hour & The Nelson-Atkins Museum of ArtWritten by Mark Gardiner and others and compiled by Lu Yufan
More

: Pioneering: Chinese Artists Abroad in France and Chinese Modern Art (1911-1949) Exhibition Opens in Shijiazhuang Art Museum

2019-11-04

The exhibition tour of “Pioneering: Chinese Artists Abroad in France and Chinese Modern Art (1911-1949)”, hosted by the Central Academy of Fine Arts (CAFA), CAFA Art Museum, Long Museum, and Shijiazhuang Art Museum, opened grandly at Shijiazhuang Art Museum at 3pm, October 27, 2019. It features 123 works by more than 40 artists, including paintings, sculptures and research materials, showing that at the historical node of the transformation of Chinese art in the early 20th century, the Chinese artists studying abroad in France chose to develop Chinese art from tradition to modernity. They thus became the forerunners and practitioners of the cultural appeals for modernity of Chinese art of the 20th century and founders and pioneers of the shifting of Chinese art towards modernity. The opening ceremonyAmong the guests who attended the opening ceremony are : Zhang Zikang, Director of the CAFA Art Museum; Wang Chunchen, Deputy Director of the CAFA Art Museum; Du Yicai, Deputy Director of the Treasury Operations Department at CAFA; famous artists Li Mingjiu, Chen Chengqi, Li Weishi; Zhang Guojun, Vice Presidents of the Hebei Artists Association Li Yanpeng, Han Feng, Gao Junfeng and Yan Jinglong; Wang Fuming, Director of the School of Fine Arts and Design at Hebei Normal University; Wang Liming, Deputy Director of Hebei Provincial Painting Academy; Nie Shufa, Deputy Director of the School of Art, Hebei University of Economics and Business; Li Xueshan, Deputy Director of Shijiazhuang Academy of Fine Arts; Wang Wenling, Vice President of Hebei Artists Association and Director of Shijiazhuang Art Museum; Cao Fengxiang, Secretary of Party Committee and Deputy Director of Shijiazhuang Art Museum; Duan Zhaolin, President of the Shijiazhuang Artists Association. Wang Chunchen, Deputy Director of the CAFA Art Museum, hosted the opening ceremony. Some CAFA alumni in Hebei and many artists also attended the ceremony. Zhang Zikang, Director of the CAFA Art Museum, gave a speechZhang Zikang, Director of the CAFA Art Museum, said in his speech that the exhibition was successfully held in the CAFA Art Museum after more than a year of preparation, and was widely recognized by the society. It showed the academic strength of the CAFA. The Shijiazhuang Art Museum and the CAFA Art Museum have maintained a good academic relationship. This 2019 exhibition was another large academic exhibition held at Shijiazhuang Art Museum, after the 2017 “Object/Realization: A Case Study of Ye Qianyu Part II” exhibition and the 2018 “Xu Beihong and His Time” exhibition. The artists who studied abroad in France in the early 20th century who are presented in this exhibition, received Western academic education of classicism, realism，naturalism, and brought back various Western modernist schools, adding new art categories, art concepts and new lifestyles associated with them to the 20th century Chinese fine arts, which were different from the traditional Chinese painting and calligraphy system. At the same time, most of them returned to their motherland after they graduated, and many chose art education as their life-long career. Till now, their techniques, concepts and theories have deeply influenced Chinese modern art education. Today, we appreciate these works not only to pay homage to them, but also to provide a perspective on how the current modernization of Chinese art develops and innovates in a global horizon. Most of the previous exhibitions on this rich history were presented as case studies. It is rare in recent years that the history is presented as such a large-scale and neatly organized exhibition. The richness and versatility of the exhibition have been well displayed by the works presented, and it is very instructive for the cultural identity and artistic integration issues that the contemporary art is facing. Wang Chunchen, Deputy Director of the CAFA Art Museum, gave a speechWang Chunchen, Deputy Director of the CAFA Art Museum, mentioned in his speech that in the history of modern Chinese art, there were still many important fine art works that have not been visible in public. And the improvement of collection mechanism of Chinese public art institutions has only begun in recent years. With the support of more than 40 public and private art institutions and private collectors in China, this exhibition will enable the public to re-understand and recognize the outstanding contributions of the art pioneers of modern Chinese art by directly seeing their original works. The tour exhibition is successfully held at the Shijiazhuang Fine Art Museum. We believe that we can have more opportunities for academic exchanges and cooperations with Shijiazhuang Fine Art Museum, and enhance the radiation and promotion of the art industry in Hebei Province through the benefits of this convenient location.Curator Hong MeiCurator of the exhibition, Hong Mei, was unable to attend the opening ceremony because of the planning work of Liu Shiming’s sculpture art exhibition in New York. She mentioned in the curator’s message that the “Chinese Artists Abroad in France” exhibition tour, which exhibits across the country as the 2018 annual communication and promotion project of National Art Fund, presents both the pioneers of western academic classism, realism and naturalism, as well as those who explored the different schools of western modernism. Both of these groups promoted the formation and development of art scene in China in 20th century.Artist Li MingjiuFamous artist Li Mingjiu said that by reviewing the experience of the pioneers studied abroad in France and the development of Chinese art, we have the chance to appreciate the significance of the artists studied abroad in France in the development of modern Chinese art. Today, the commemoration of the pioneers is also a hope for making greater contributions to the future of the art cause. He appreciated CAFA for introducing the great academic exhibition to the Shijiazhuang Art Museum. Such academic exchange and cooperation will play an important role in promoting the development of art industry in Shijiazhuang and Hebei Province.Wang Wenling, Vice President of the Hebei Artists Association and Director of Shijiazhuang Art Museum, gave her speechIn the end, Wang Wenling, Vice President of the Hebei Artists Association and Director of Shijiazhuang Art Museum, expressed her gratitude to CAFA for the trust and support to Shijiazhuang Art Museum. Through this cooperation, the public has the opportunity to appreciate the precious artistic fruits of the pioneers who studied abroad in France. It greatly enriched the spiritual and cultural life of residents in Shijiazhuang City. She sincerely wished that the friendship between CAFA and Shijiazhuang Art Museum will last long. *The exhibition will last till December 3rd, 2019.Chinese text edited by He Yifei and Cui RanranTranslated by Liu Yanchao丨Exhibited Work丨Zeng Yilu, Qingjinghuacheng Tower in Xihuang Temple, 54.5x35.5cm Chang Shuhong, Nude Portrait of Seated Woman, oil on canvas, 140x92cm, 1940Huang Xianzhi, Cherries on White Floor, 61X46.5cmHan Leran, Carpet Market, 200X150cmHu Shanyu, Canna, 65x54.3cmLi Chaoshi, Four Friends of New Year, powder on paper, 46x33cm, 1962Liu Haisu, Basilique du Sacré Coeur, oil on canvas, 73x60cm, 1931Lv Sibai, Cape, 82X62cmWu Dayu, Untitled-19, oil on canvas, 54x39cm, 1980sLv Xiaguang, Temple Hall, 38x30.5cmSitu Qiao, Lassoing Horses, oil on canvas, 97.5x222cm, 1955Wu Zuoren, Worshipping the Blue Sea, 61x80cmWu Zuoren, Practice Work on Human Body, 29x49.5cmXu Beihong, Family Portrait of Yang Zhongzi, 59.5x79.5cm, 1928Zhou Bichu, The Small Three Gorges, 60x79cmZhao Wuji, 1.12.64, oil on canvas, 130x89cm, 1964Wang Ziyun, Morning in Town, 59.5x72cm丨About the Exhibition丨 Exhibition Details Time: 2019/10/27 - 2019/12/3Place: Gallery 4 & 5, Shijiazhuang Art MuseumChief Organizer：Central Academy of Fine ArtsOrganizers: CAFA Art Museum, Long Museum, Shijiazhuang Art MuseumChief Planner: Fan Di'anArt Director: Su Xinping, Zhang Zikang, Wang WenlingExhibition Director: Wang Chunchen, Gao Gao, Cao FengxiangCurator: Hong MeiCo-curators: Dong Song, Liu Libin, Jiang Mingyang
More

: CAFAM Techne Triennial 2020 | Topologies of the Real & Art in Motion Initiates

2019-11-04

CAFA Art Museum (CAFAM) will hold the large-scale media art exhibition "Topologies of the Real" from February 20 to March 29, together with ZKM's tour exhibition "Art in Motion: Masterpieces with and through Media", and initiated the first "CAFAM Techne Triennial".
More

: Chinese Museums are Having Creative Product Fever

2019-11-01

When the Kangxi, Yongzheng and Qianlong emperors of the Qing dynasty posed solemnly for a formal portrait painting, it perhaps never occurred to them that just in a few hundred years, such meticulously modeled image would be completely subverted into the new “Internet celebrity” amid the creative product consumption trend.The official writings of the Yongzheng Emperor were copied onto folding fans, which are one of the best-sellers of the Palace Museum's online store. The emperor's portrait was also photoshopped into an advertisement. Photo via the Palace Museum Taobao Store's Weibo account.According to a report released in August by the Institute of Cultural Economy at Tsinghua University and Tmall, an artm of e-commerce giant Alibaba Group, cultural and creative products from museums have become the latest favor of consumers. From 2017 to 2019, the sales of cultural products on Tmall alone increased by three times. Museums' stores on the platform reported an increase of six times during the period. In 2018, museums’ Tmall shops received 1.6 billion visits, 1.5 times the trips people made to brick-and-mortar museums across the country. Among the online visitors, about 100 million are born after 1990.It’s no doubt that the museum creative product fever has arrived in China. This reflects not only in the enthusiasm of leading Chinese museums, such as the Palace Museum and the Suzhou Museum, in development of a variety of creative products based on their unique intellectual property; but also the entering of many prestigious foreign museums, led by the British Museum and the V&A Museum, in China’s e-commerce platforms. The phenomenon shows a major transformation of the museums’ mindset, from reacting to visitors to initiating contact with the public. Museums seem to have found balance between solemnity and playfulness on the e-commerce platforms: They can sell both exquisite replicas of their feature collections, and products that feature cute cartoon history figures.Screen capture of the British Museum's Chinese e-storeYin Zhisong, Deputy Director of the Institute of Cultural Creativity Development at Tsinghua University, said that good creative products of museums are capable of transforming the essence of traditional culture, and allowing the public to get in touch with cultural heritage in their daily life. He is optimistic about the crossover cooperation between museums and the Internet companies: “Internet companies could help innovate museums’ historical and cultural background in more diverse perspectives, and museums could help enrich people’s digital life. Museums could thus attract more visitors, and provide them with more lively experience.”But there are also voices pointing out the gap between the cultural and creative industry in China and in western countries. For one thing, some consumers have complained that the assimilation of museums’ creative products could cause aesthetic fatigue. “Museums shouldn’t be satisfied about pleasing the public with cute products,” Yin acutely pointed out, “they should dig deeper into their cultural genes.” According to him, museums should set up intellectual property gallery based on extensive, academic research work, recreate stories based on history, think out of the box of “exhibition souvenirs”, and recruit professional designers to combine the museums’ cultural genes with people’s lifestyle, to design products that are more sustainable.Source | People’s Daily / China DailyAuthor | Yuan Shenggao / Zou YatingCompiled by Lu Yufan
More

: Lecture Info | Arata Isozaki: Third Space IKI+SHIMA

2019-10-29

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

: Lecture Info | Media Art and Injury - Arne De Boever

2019-10-28

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

Child Public Education Reservation Form

*
Event name
*
Event time
*
Gender
Male

Female
*
*
*
*
*
*
Do you need any accessibility service?
Wheelchair service

Volunteer service

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.

Submit

Adult Public Education Event Reservation Form

*
Event name
*
Event time
*
*
Gender
Male

Female
*
*
*
*
*
Do you need any accessibility service?
Wheelchair service

Volunteer service

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.

Sumbit

Group Public Education Event Reservation Form

*
Event name
*
Event time
*
Group type
University

Institution

Group
*
*
*
*
Participating group type
Children

Youth

Adult

Seniors
*
*
Wheelchair service

Volunteer service

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.

Submit

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

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

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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.