Exhibitions and Events-News- CAFA Art Museum

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

: CAFAM“运动与身体”系列研讨第十一讲 | 何磊：身体的耗费与逾矩

2022-08-05

CAFAM“运动与身体”系列研讨议题3：东西方的运动观与身体观（第三讲）身体的耗费与逾矩——巴塔耶论爱欲主讲人：何磊（首都经济贸易大学文化与传播学院教授）主持人：邵亦杨（中央美术学院人文学院副院长、教授、博士生导师）线上讲座时间：8月6日（周六）14点线上讲座地址：腾讯会议522-274-179 讲座介绍乔治·巴塔耶（Georges Bataille ）是放浪不羁的登徒子，是备受争议的色情作家，是发达资本主义时代的反讽诗人，更是探索爱欲问题的严肃哲人。在生命晚年潦倒之际，巴塔耶接连完成了数部以爱欲为主题的思想作品，总结了一生情色缤纷的实践、书写与思考。巴塔耶热爱的拉斯科岩画安德烈·马松，《太阳肛门》巴氏意义上的爱欲绝非兽性的性爱或色情，而是身体与能量的纯粹耗费活动，是人类特有的逾矩冲动，是嘲讽理性的神圣暴力，更是通达自主的生命奔流。安德烈·马松，《无首者》对巴塔耶而言，爱欲是身体的爱欲，身体也是爱欲的身体。爱欲是所谓内在体验的极致体现，也是理性语言无法把捉的生命极境。作为人之为人的终极问题，爱欲最终意味着肯定生命、至死方休的沉默无言。主讲人简介何磊首都经济贸易大学文化与传播学院教授，硕士生导师。浙江大学人文学院哲学系硕士，北京外国语大学外国文学研究所博士，南加州大学中美联合培养博士。主要研究方向为当代西方哲学、跨文化研究、学术翻译。在《外国文学》《马克思主义与现实》《读书》等权威期刊发表文章多篇，专著2部、译著多部，曾主持教育部、北京市、北京市教委人文社科基金课题多项。主持人简介邵亦杨2003年悉尼大学博士毕业，中央美术学院教授，博士生导师，人文学院副院长, 中国美协艺术理论委员会委员，世界艺术史协会委员，中国油画学会理事，江苏凤凰出版社视觉文化系列执行主编，主要著作有:《后现代之后》（2008 上海人民美术出版社）《穿越后现代》(2012，北京大学出版社),《西方美术史》(2014,北京大学出版社)，《20世纪现当代艺术史》(2018/2021），上海人民美术出版社)，《全球视野下的当代艺术》（2019，北京大学出版社）。 “运动与身体”系列研讨主办：中央美术学院美术馆支持：中央美术学院《美术研究》编辑部学术主持：张子康（中央美术学院美术馆馆长）活动召集：刘希言（中央美术学院美术馆学术部主任）时间：2022年4月-10月扫码查看活动详情
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: A record number of museum buildings opened in 2021

2022-08-01

According to the Cultural Infrastructure Index published by AEA Consulting, after a predictable dip in 2020 due to broader pandemic lockdowns, 2021 showed an extraordinary robust rebound in new buildings and projects.The report, now in its sixth year, measures investment in capital projects in the cultural sector around the world. The significant impact of the coronavirus pandemic in 2020 led to a decrease of roughly 30 percent in their volume and value, with only 104 projects completed with a value of $5.7 billion. However, in 2021, “the data paints quite a different picture as we record the highest number of completed and announced projects since we first published in 2016,” according to the report. A total of 211 projects were completed with a total value of $11.2 billion in 2021, more than double the previous year, and 174 projects were announced, up by 34%.Museums remained the dominant building type, accounting for 51 percent of announced and completed projects and accounting for $8.9 billion of total investment, up 29 percent from the previous year. Performing arts centers were the next most popular form, accounting for 24 percent of projects, and also saw increased investment amounting to $4.8 billion, up 72 percent from the previous year. Multifunction arts venues accounted for 17 percent of projects, and “cultural hubs/districts” accounted for eight percent of projects.Meanwhile, other than rebound in the number of new infrastructure, there’s also more lasting change in the character of the projects. In 2021, AEA Consulting for the first time paid attention to the category of "adaptive reuse projects" in addition to new buildings, renovations and expansions. They represent a growing segment of total investment, as project leaders seek to minimize waste while maximizing social value and relevance to local communities.Source | artnet newsAuthor | Eileen Kinsella
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: CAFAM“运动与身体”系列研讨第十讲 | 议题3：东西方的运动观与身体观（第二讲）

2022-07-21

CAFAM“运动与身体”系列研讨议题3：东西方的运动观与身体观（第二讲）“吾身是个矩”儒家身体观二论主讲人：韩振华（北京外国语大学中文学院教授、博士生导师）主持人：邵亦杨（中央美术学院人文学院副院长、教授、博士生导师）线上讲座时间：7月23日（周六）14点线上讲座地址：腾讯会议417-720-268 讲座介绍《孔子圣迹图·观乡人射》，清·同治十三年（1874）孔宪兰刻本“儒家”是个总名，是对传统中国志在淑世、“顺阴阳，明教化”的士人群体的总称。作为中国自古以来思想“竞技场”的重要一支，儒家针对时代的困局和难题次第发声，呈现出多元、复调的谱系特点。思考儒家的身体观，亦应将历代儒家的身体论述置入其得以产生的思想语境，在历史原境之中反观其深广的忧思和关切，从而做出同情的理解与评判。本次讲座尝试聚焦儒家身体观应时而发的几个思想史公案，既关注儒家与其他思想流派相矛盾、竞争的历史语境，又注重在细读理论文本的基础上寻绎儒家的思维秉性，希冀能够真实、立体地再现儒家身体观的重要面向。孟子像，清·南薰殿旧藏《至圣先贤半身像册》，台北故宫博物院藏朱熹《孟子集注》清刻本先秦轴心时期，孟子批评杨朱（原始道家成员之一）“拔一毛而利天下不为也”，有强为之说的嫌疑。不过，孟子“养吾浩然正气”的践形观在根本上迥异于原始道家的“全性保真”说，这是孟子辟杨的主要原因。道家（庄子）肯定支离疏等身体畸形却得以“养其身，终其天年”，这与儒家的“摄威仪”观也无法共容。韩愈画像，清宫殿藏先贤像世俗佛教的灵魂观激起了儒者范缜的反驳，其《神灭论》重申了儒家的形神一元观；韩愈《论佛骨表》也在崇儒排佛之际表现出强烈的身体关切。西汉·马王堆帛书《五行篇》（局部）马王堆汉墓帛书《五行篇》究竟显示了思孟学派“德对身体性、物质性的拨无”（池田知久），还是道德生理学意义上的“物化德性”（齐思敏）？可能兼而有之。“物化德性”的观念在明清之际的王艮（心斋）、王夫之（船山）那里得到了新的肯定和强化。(日)兴亡史论刊行会1931年译《宋论》载平福百穂所绘王船山像王夫之以“六经责我开生面，七尺从天乞活埋”的孤绝精神自期，统合道器，主张“形色”是“性”的体现，“形可以征神”，“神可以化形”，其“敬身”“爱身”论述针对的是道家的“不仁”和佛教的“劣而狂”。尽管王夫之极有可能浸染了道教内丹术，但他批判道教“固命自私”、“盗天自用”、“离行为知”，则是对儒家“安生安死”、乾健有为精神的延续和发扬。近代以来，“身体”艺术引发的社会争议折射出中西古典美学的一个深刻差异，汉学家朱利安《本质或裸体》一书对此有精彩阐说。尽管如此，在中国人的身体观方面，一个新的时代开始了…… 主讲人简介韩振华韩振华，2007年毕业于复旦大学，北京外国语大学教授、博士生导师，北外“卓越学术带头人”，中文学院比较文学与比较文化研究中心主任。学术兴趣聚焦于中国哲学、中西美学与文论、海外汉学，特别是《孟子》、《周易》、王夫之哲学等儒学思想在西方的译介与诠释，以及西方的中国美学与诗学诠释。出版专著《王船山美学基础：以身体观和诠释学为进路的考察》（2008，巴蜀书社）、《他乡有夫子：欧美的〈孟子〉译介与诠释研究》（2017，中国社会科学出版社；获中国教育部第八届高等学校科学研究优秀成果奖），译著《艺术诸定义》（2014，南京大学出版社），编著《曲通万殊：多元理论话语的对话与交响》（2020，外研社）。另在《复旦学报》、《中山大学学报》、《中国哲学史》、《文艺理论研究》、《伦理学研究》等学术刊物发表论文50余篇。主持人简介邵亦杨2003年悉尼大学博士毕业，中央美术学院教授，博士生导师，人文学院副院长, 中国美协艺术理论委员会委员，世界艺术史协会委员，中国油画学会理事，江苏凤凰出版社视觉文化系列执行主编，主要著作有:《后现代之后》（2008 上海人民美术出版社）《穿越后现代》(2012，北京大学出版社),《西方美术史》(2014,北京大学出版社)，《20世纪现当代艺术史》(2018/2021），上海人民美术出版社)，《全球视野下的当代艺术》（2019，北京大学出版社）。 “运动与身体”系列研讨主办：中央美术学院美术馆支持：中央美术学院《美术研究》编辑部学术主持：张子康（中央美术学院美术馆馆长）活动召集：刘希言（中央美术学院美术馆学术部主任）时间：2022年4月-10月扫码查看活动详情
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: What university museum educators have learned from the pandemic

2022-07-13

The prolonged impact of COVID-19 on university campus and museum operations has forced museum educators to reframe the once-temporary adaptations they implemented as tactics for survival into long-term strategies. After more than two years of disruption to university campuses and museum operations, we asked educators in university museums how they pivoted to serve their core audience of students and faculty, and which pandemic adaptions they are planning to keep in place.Enhancing the student experienceThough Covid restrictions limited the access of public audience, at many university museums, the pandemic has strengthened the connection to students and faculty, who are granted priority access. This meant a shift in educators’ time and resources to focus on the in-person experience of their campus community.For example, the Bowdoin College Museum of Art reopened to the campus community in the fall of 2020 but remained closed to the public until summer of 2021. The resulting gaps in the museum’s exhibition schedule created an opportunity to rethink the use of the gallery spaces. In spring 2021, it emptied its lower galleries and converted the spaces into a series of classrooms, where different courses could curate mini-exhibitions, with the galleries rotating every week.Supporting students’ professional trainingThe museum job market was tough pre-COVID and only worsened when the pandemic hit. The positions most impacted by furloughs and layoffs were those on the front line, precisely where many recent graduates get a foot in the door.In this climate, many students planning careers in the museum field doubted their prospects. Given the uncertainty many students felt, some academic museums saw a role to play in supporting them through the transition, while keeping balance between professionals and students contributing to their work. Museo de Historia, Antropología y Arte de Río Piedras at the University of Puerto Rico reimagined the hiring and onboarding processes of their student workers, and during the summer months they diligently recruited, conducted interviews, facilitated virtual orientations and training, and scheduled work shifts for twenty-two student helpers to start in September. It is rather a mentorship than internship, in which supervisors double as mentors for the students, and provide the network and guidance for them to navigate the foreign terrain.A menu of digital offerings on the Lowe Art Museum’s websiteDesigning a website for online learningLike other museums across the world, university museums worked to overhaul their websites during the pandemic to encourage virtual engagement with their audiences. The updates make it easier for the public to access collection search portals, classroom lesson plans, live virtual programs, instructional videos and virtual tours. Two years after serving the public through digital webpage, Mark Osterman, the director of Digital Engagement and Head of Education at the University of Miami’s Lowe Art Museum acknowledged that the museum’s staff feel okay to "let go of the notion that visitors should all visit the museum," and "virtual visitation and reach is real and enhances access and accessibility when done right." Online presence can also virtually extend the life of exhibitions.Meanwhile, university museums found significant success in virtual programming. By holding conferences, lectures, panels or interviews online, it allows far more people than ever to participate.Thanks to these benefits, many museums are planning to continue hosting virtual programs for the near future, even as in-person programming becomes possible. For example, the Yale University Art Gallery will keep two of its popular virtual programs, Arts in Mind program that help those dealing with early-onset memory loss, and Teacher Leadership Program that typically served educators in the immediate community before the pandemic, but since becoming virtual, allowed participants to join from across the country and even internationally.Source | American Alliance of MuseumsAuthor | Lori Kartchner, Abbey Newkirk
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: “运动与身体”系列研讨第九讲 | 才清华：道家哲学中的身体观

2022-07-07

CAFAM“运动与身体”系列研讨议题3. 东西方的运动观与身体观（第一讲）道家哲学中的身体观主讲人：才清华（复旦大学哲学学院副教授）主持人：邵亦杨（中央美术学院人文学院副院长、教授、博士生导师）线上讲座时间：7月9日（周六）14点线上讲座地址：腾讯会议838-959-167 讲座介绍马王堆汉墓出土《帛书老子》局部，湖南省博物馆藏（图片来源于网络）作为现代学术概念，“身体观”并不是古典道家自觉的主题，但这不妨碍我们以现代眼光去发掘道家视角中的“身体”。《敦煌遗书：老子道德经玄宗疏》局部，大英图书馆藏（图片来源于网络）王羲之《道德经》拓本复制品局部（图片来源于网络）本讲座将依托《老子》《庄子》这两部代表性的道家哲学经典，从考察道家“重生”概念开始，梳理道家身体观的多维面向。范曾，《庄周梦蝶》（图片来源于网络）首先，道家从整体性的维度观照“身体”，不仅身心一元，身体与世界亦融为一体。这种对身体的安置，反映了道家非对象化的认知方式。上下滑动查看范正红，《庖丁解牛》（图片来源于网络）其次，道家对生命和身体的理解，可以通达于对“天”和“道”的把握，身体可以成为借由理解世界的途径和方法。因此，身体之实践性品格在道家哲学中具有根本性意义。张路，《老子骑牛图》，台北故宫博物院藏（图片来源于网络）最后，讲座将呼应本次系列讲座的主题——“运动与身体”，尝试站在老庄的立场讨论一种道家视角的理想运动何以可能，以及运动与美感的关系。主讲人简介才清华香港科技大学人文学部哲学博士（2007），现任复旦大学哲学学院副教授，复旦大学通识教育中心副主任。曾为香港中文大学中国哲学与文化中心访问学者（2010.05），台湾大学人文社会高等研究院访问学者（2013.06-09），浙江大学人文高等研究院驻访学者（2018.03-06）。主要研究领域：魏晋玄学、先秦道家。研究兴趣包括重新思考魏晋玄学在中国哲学史上的地位和意义，先秦道家思想诠释，中国哲学史上的语言哲学问题。近期研究聚焦于英语世界道家哲学研究。独立承担多项国家和省部级课题。著有《言意之辨与语言哲学的基本问题―对魏晋言意之辨的再诠释》，另于《复旦学报》、《中国哲学史》、《社会科学》、《现代儒学》等期刊发表学术论文数篇，于《大学通识报》、《通识教育评论》发表通识教育论文数篇。主持人简介邵亦杨2003年悉尼大学博士毕业，中央美术学院教授，博士生导师，人文学院副院长, 中国美协艺术理论委员会委员，世界艺术史协会委员，中国油画学会理事，江苏凤凰出版社视觉文化系列执行主编，主要著作有:《后现代之后》（2008 上海人民美术出版社）《穿越后现代》(2012，北京大学出版社),《西方美术史》(2014,北京大学出版社)，《20世纪现当代艺术史》(2018/2021），上海人民美术出版社)，《全球视野下的当代艺术》（2019，北京大学出版社） “运动与身体”系列研讨主办：中央美术学院美术馆支持：中央美术学院《美术研究》编辑部学术主持：张子康（中央美术学院美术馆馆长）活动召集：刘希言（中央美术学院美术馆学术部主任）时间：2022年4月-10月扫码查看活动详情
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: Hong Kong Palace Museum opens on July 2

2022-07-01

The Hong Kong Palace Museum (HKPM), located in the West Kowloon Cultural District of the Hong Kong Special Administrative Region, was inaugurated on June 22 and is scheduled to open to the public on July 2, a day after the 25th anniversary of the handover of Hong Kong to mainland China.The 3.5 billion HKD boasts 30,000 square meters over seven storeys, where an impressive 1,600 sqm will be for education activities, and 7,800 sqm dedicated to exhibitions. Designed by local firm Rocco Design Architects, the museum is built roughly in the shape of a ding - a traditional Chinese cauldron. In the nine gallery spaces of the cauldron, 914 artifacts on loan from the Palace Museum in Beijing will be on display for its opening exhibition.Festive Robe with Dragons, Clouds, and Bats, Embroidery on Silk Satin. Qing Dynasty, Qianlong Period, 1736-95. It will be exhibited at HKPM's opening exhibition.From paintings and bronze wares to embroideries and ancient architectures, the exhibits span the 5,000-year history of Chinese civilization, covering all categories of the collection of the Palace Museum, including 166 pieces of first-class cultural relics of the country. This will be the largest and highest-level cultural heritage exhibitions of the Palace Museum outside of the mainland since its establishment in 1925.HKPM Gallery 7However, the new HKPM is not a branch of Beijing’s Palace Museum, but "a partner" of the its Beijing counterpart, according to the information displayed on the first floor of the HKPM.Thirteen pieces of artifacts from the Louvre Museum in Paris, France, will also be exhibited in the HKPM after it opens. As director of HKPM Louis Ng explains, this reflects the rationale behind the establishment of the HKPM, which is not only to inherit and promote traditional Chinese culture, but also to promote cultural exchanges between the East and the West.Source | Xinhua
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: “运动与身体”系列研讨第八讲 | 单万里：奥运官方电影起源及演变

2022-06-29

CAFAM“运动与身体”系列研讨议题2：奥林匹克的艺术制造（第四讲）奥运官方电影起源及演变主讲人：单万里（中国电影艺术研究中心研究员）主持人：高高（中央美术学院美术馆副馆长）线上讲座时间：7月2日（周六）14点线上讲座地址：腾讯会议802-175-328 讲座介绍现代奥运与电影艺术，如同孪生兄弟，自诞生之日起难解难分，共同为现代人类生活增添了光彩和乐趣。1936年柏林奥运会官方电影《奥林匹亚》剧照1964年东京奥运会官方电影《东京奥林匹亚》海报1984年洛杉矶奥运会官方电影《光荣的16天》海报美国体育纪录片导演巴德·格林斯潘2004年雅典奥运官方电影《光荣的奥运故事》海报1895年，现代奥林匹克之父顾拜旦在巴黎组建了国际奥委会，卢米埃尔兄弟在巴黎举行了首次电影放映。1896年，首届现代奥运会在古代奥运会发祥地希腊雅典举办，据说已有电影摄影师拍摄了这届奥运会的场面。1912年，国际奥委会在斯德哥尔摩奥运会前夕，要求举办地拍摄一部奥运官方电影，这个要求还被写入《奥林匹克宪章》，以法律契约形式固定下来。2008年北京奥运会官方电影宣传资料奥运官方电影被永久收藏在奥运会博物馆（瑞士洛桑）2008年，第22部奥运官方电影由中国中央新闻纪录电影制片厂承制。奥运官方电影与其他奥运电影的不同之处主要有三点：一、从法律角度看，奥运官方电影具有唯一性。二、从文献角度看，奥运官方电影具有权威性。三、从制作角度看，奥运官方电影更具艺术性。主讲人简介单万里一九六四年生于江苏徐州。北京外国语大学法语系文学学士（一九八五），北京电影学院文学系文学硕士（一九八八）。毕业后一直在中国电影艺术研究中心（中国电影资料馆）从事电影研究与教学（其间当过记者、编辑、翻译、导游，曾赴非洲、法国、加拿大等地工作或访学）。主要研究领域：法国电影、纪录电影、体育电影。主要研究成果：主编《纪录电影文献》《纪录电影分析》《回顾与展望：中国电影百年国际论坛文集》，编著《中国纪录电影史》《纪录片简史》，译著《特写：阿巴斯和他的电影》《特吕弗传》《巴赞传》《法国新浪潮电影史》《安东尼奥尼的电影》《世界纪录电影史》等。 “运动与身体”系列研讨主办：中央美术学院美术馆支持：中央美术学院《美术研究》编辑部学术主持：张子康（中央美术学院美术馆馆长）活动召集：刘希言（中央美术学院美术馆学术部主任）时间：2022年4月-10月扫码查看活动详情
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: Take a look at the first post-pandemic Kids in Museums Takeover Day

2022-06-24

On November 12 2021, 70 museums, galleries, archives and heritage sites across the UK were taken over by children and young people for Kids in Museums Takeover Day. It is a special day that young people take over jobs normally done by adults at museums, and since its first event in 2010, more than 40,000 children and young people have taken part, from toddlers to university students.The 2021 event was the first in-person Takeover Day since the start of the pandemic, involving around 1,900 young people. Coinciding with the end of COP26 in Glasgow, the day was themed to encourage young people to address climate action issues. They were given insights into museum careers, acting a variety of roles such as sustainability consultants, climate themed exhibitions curators, climate protest signs and slogans designers, documentary film makers, etc.A few examples show how participating museums collaborated with young people on the climate action theme, from curation, research to education:London Transport Museum held a Live Stream where primary school children put their questions to grown-ups in the transport industry to find out what actions they are taking to look after the environment for future generations.At Perth Museum & Art Gallery, young people curated a local photography exhibition illustrating factors affecting the local environment.At Darlington Railway Museum’s Toddler Takeover event, a range of activities, such as selling tickets for public transport, sorting recycling and running a toy and book swap shop were held.Other than a strong in-person engagement, the Takeover Day also had a strong online presence. Hashtag #TakeoverDay on Twitter alone shared by young people and museums reached more than 2 million people.Source | MuseumNextAuthor | Adrian Murphy
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: The museum that turns emotions into wisdom

2022-06-16

View an art exhibition might provide a temporary distraction from negative emotions, but now a new continuing installation at the Rubin Museum of Art proposes to do something far more radical with these negative emotions: transform them into wisdom.
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: Cultural institutions rethink Russian connections

2022-05-25

Amid the escalating Russia-Ukraine war, more institutions across Europe rethink how the Russian and Ukrainian cultures are represented in their collections.
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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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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.

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(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.

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(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.

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Group Visit Agreement
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CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

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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.