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.

: 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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: 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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: 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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: 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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: 5·20丨Here we are, the 2022 CAFA Graduation Season

2022-05-20

The 2022 CAFA Graduation Season will be an exhibition series that will never go offline.
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: Loading…丨2022 CAFA Graduation Season is ONLINE!

2022-05-18

Scan the QR code to check out the 2022 CAFA Graduation Season:
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: ICOM publishes two proposed museum definitions

2022-05-17

The International Council of Museums (ICOM) recently published two alternative proposals for its updated definition of a museum, three years after its original proposition was dismissed following a heated debate at its 2019 conference in Kyoto.
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: Can digital technology help us to learn to look slowly?

2022-05-13

Since its founding in 2010, Slow Art Day has been encouraging museum visitors to try slow looking - spending 10 minutes of more looking at a single work - for more than a decade in museums across the globe.It is seemingly a big ask. The Weatherspoon Art Museum in North Carolina for example, is holding the exhibition Slow Looking/Deep Seeing from January to June this year. In the exhibition’s introduction, it said that researchers estimate visitors to art venues spend an average of eight seconds looking at each work on display.In a museum piled high with objects, it’s tempting to try to see as much as practically possible during your visit. But taking time to look closely at a single exhibit can reveal subtle details about a work, and allow you to connect with works of art. This is why Phyl Terry founded the Slow Art Day. "The most important discovery they make is that they can see and experience art without an expert (or expertise). And that’s an exciting discovery. It unlocks passion and creativity and helps more visitors to learn how to look at and love art."More than a decade since its founding, the Slow Art Day is now participated by 1,500 museums and galleries around the world. It encourages people to look at exhibits slowly in the real space, looks to build a community within the museum through looking at the art together, and hopes for people to grow appreciation and love for art. But of course, the pandemic outbreak in 2020 has changed their focus on real space events. The question is, can digital encourage slow looking?As museums are transferring their exhibitions and activities online, they’ve also discovered several measures to encourage people to look slowly through the digital screen. One good example is the National Gallery’s 5-Minute Meditations series, which combine slow panning videos of artworks with meditation to create beautiful viewing experience. On the Slow Art Day 2020, the McMaster Museum of Art in Ontario, Canada, shared nine detailed images to their Instagram account over a 90-minute course, with the full image revealed at the end. While audience were encourage to look at the work of art detail by detail, they can also engage in discussions in the comments of each post.What’s more, museums are using Zoom and social media channels to promote their slow looking events, to invite people from other regions to participate. Google Arts and Culture is another ground for them to encourage slow looking - by uploading gigapixel quality images. Although digital cannot replicate the experience of slow looking in real space, it does offer new and rich ways of experiencing exhibits slowly.Source | MuseumNextAuthor | Rebecca Hardy Wombell
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Child Public Education Reservation Form

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Group Public Education Event Reservation Form

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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.