Exhibitions and Events-News

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

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

2019-10-12

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

Lecture Info | Rethinking Video Art: The Materiality and Technicality of Video Installation / Sculpture ...

2019-10-11

Time: Oct. 13, 2019 13:00-18:00 Place: CAFAM Lecture Hall / Conference Room More

CAFAM Lecture Info |The Art of the Quantum Universe: Time, Consciousness and Chaos ...

2019-10-08

2019 Leonardo Art, Science and Technology Lecture SeriesThe Art of the Quantum Universe: Time, Consciousness and ChaosSpeaker: Paul ThomasDate: 10.10.2019 ThursdayTime: 18:30-20:00Language: English (with Chinese translation)Venue: CAFA Art MuseumCo-organized by CAFA Visual Art Innovation Institute,CAFA Center for Art and Technology, CAFA Art Museum, Chronus Art Center In collaboration with Leonardo / ISAST | About the Lecture | This talk will explore the synchronicity taking place between science and art in dealing with the speculative nature of the quantum universe. We are entering an age denoting a much broader paradigm shift away from the concrete and indivisible era towards an age defined by uncertainty. The talk is grounded in the contention that the quantum ‘turn’ in relatively recent developments of twentieth-century theoretical physics is denotative of a much broader paradigm shift in culture. The shift away from determinism and is reflected in experimental art of the modern era and into the present.The philosopher Henri Bergson, a major thinker on time at the beginning of the twentieth century, will be discussed in connection to current thinking on quantum time. Artists and scientists were attempting to visualise the invisible world in the early twentieth century. For example, Etienne Jules Marey influenced Cubism and Futurism with his chronophotographic indexical traces of movement, effectively making time visible. Since then, scientific imaging technology has advanced to where we are now: witnessing the mechanistic visualisation of the atomic world.My work as an artist contributes to this lineage. The artwork Quantum Consciousness (2016) is an audio-visualisation of atomic data that indexes the quantum "movement" of a phosphorus electron. Quantum Consciousness visualises the co-emergence of thought-data (viewer) and quantum-data (electron). The scientific research informing the work was conducted in collaboration with quantum physicist Professor Andrea Morello. Morello's research looks at controlling the spin of electrons and nuclei for the development of the processor in the quantum computer. The media artwork Quantum Chaos (2019) visualises quantum phenomena by exploring the liminal space between the classical and quantum world.The quantum world is hard to comprehend but science has revealed that it is fundamental to the core of our existence. The paradox of the quantum superposition (best articulated in the Schrodinger's Cat thought experiment) exists as an actual and empirical condition in which an electron occupies multiple positions in space simultaneously, but none specifically. This paper will ask questions relevant to artistic practice focused on quantum phenomena such as atomism, speed, time and the Epicurean swerve.  | About the Speake r | Dr Paul Thomas is a Professor at University of New South Wales, Art and Design and currently the Director of the Studio for Transdisciplinary Art Research (STAR) as well as the co-chair of the Transdisciplinary Imaging Conference series 2010-2018. In 2000 he instigated and was the founding Director of the Biennale of Electronic Arts Perth 2002, 2004 and 2007.His art practice takes not only inspiration from nanoscience and quantum theory, but actually operates there. Previous artworks exploring nanotechnologies and quantum phenomena have also been exhibited nationally and Internationally. ‘Quantum Consciousness’ was a visualisation of a quantum spin created from data of me reading sections of Feynman’s 1982 paper ‘Simulating Physics with Computers’, affecting the spin of a single electron. ‘Multiverse’ 2013 based on Richard Feynman’s diagrams on photons reflecting from a mirror, ‘Nanoessence’ 2009 which explored the space between life and death at a nano level and ‘Midas’ 2007 which researched what is transferred when skin touches gold. His current publication Quantum Art and Uncertainty (October 2018) and Nanoart: The Immateriality of Art (2013) are based on the concept that at the core of both art and science we find the twin forces of probability and uncertainty. He is currently editing the ‘Artist and Practice’ volume for the forthcoming ‘Encyclopedia of New Media Art’, Bloomsbury Press.《Quantum Art and Uncertainty》 (2018)The Immersive Vision TheatreTechnical support Luke ChristisonPhotography Mike PhillipsMultiverse(2012) More

A Museum ‘Dating’ App Helps Visitors Fall in Love with Art ...

2019-09-27

The High Museum of Art in Atlanta, America has successfully discovered a way to engage its visitors - with its new phone app that mashes up art and dating app released this Valentine’s Day.The High Museum of Art's Heartmatch appJust like its promotion slogan “Part game, part functional. It’s Tinder, but for art” described, the app named Heartmatch simply requires the user to interact with the museum’s collections like finding dates on Tinder - swipe right if they like the work, swipe right if they don’t.In order to maintain the wholesomeness of collections shown on the app without boring the users, the museum decided to show 100 works on the app, and pop up a map of the museum with all the works the user “liked” marked on it every seven images or so. The user could choose to visit now, send the map to their email as a pre-plan for later visit, or ignore the map and continue swiping.The concept was born in a meeting, where a curator of the museum suddenly came up with the idea. For the museum, engaging the visitors is not the only goal. There were three goals: First, they wanted to show on-site visitors the diversity of their collection; Second, they wanted to direct them to artworks they liked so they could experience the works in person; Third, they wanted to collect data on their visitors’ tastes. For example, the most liked works could be used in marketing materials, and the least popular works could be used in educational programming. In this way, the museum also aims to turn “swipe lefts” to “swipe rights”.In order to increase the app’s use, the museum chose to make a progressive web app instead of a native app that requires downloading. What’s more, they also directed a series of marketing efforts to it, such as producing a short video for the museum’s various social media platforms to generate excitement while showing the visitors know-how of the app; creating business cards specially of the app, to be distributed to visitors; and adding promotional signs near ticket desk, stairwells, elevators and on official website pages.Author | Julia Forbes and Ivey Rucket, High Museum of ArtSource | American Alliance of MuseumsEditor | Lu Yufan More

CAFAM Lecture Info | Design Research Lecture Series: Sarah Teasley ...

2019-09-24

Two lectures of the Design Research Lecture Series - Global Design History and Urgent Issues Facing Design History - will take place at CAFA Art Museum on Sep 25 and 26. More

CAFAM Workshop | "Liu Xian: Wood-Engraving Master" Exhibition Workshop Series ...

2019-09-21

Building New China, 9x10cm, Wood-engraving, 1949I would like to express my love and hatred with painting.I love art more than my life.- Liu Xian"Liu Xian: Wood-engraving Master" exhibition opens at CAFAM on September 18, 2019. Mr. Liu devoted his life to wood-engravng art, and is an artist that has made great contribution to Chinese printmaking and art in general. He not only challenged the wood-engraving art, but also created a great deal of wood-engraving works in his life. The Department of Public Education of CAFA Art Museum has planned a series of public events to interpret Mr. Liu's academic ideas.All The Other Flowers of the Hundred Flowers Blossom series, Liu Xian, Wood-engraving, 19581"Liu Xian's History with Wood-engraving" sharing sessionTime: 2019.09.20 18:30-20:00Venue: Multi-functional Conference Room, CAFAMSpeaker: Wang Renyin| About the Speaker |Ms. Wang Renyin is Mr. Liu Xian's only child. She is a researcher and promotor of Mr. Liu's work and life.| About the Session |Mr. Liu Xian is an important figure of modern Chinese art history. He persisted in wood-engraving art creation, built the root of wood-engraving in China for further development, and created many popular artworks. This session will show us Mr. Liu's art creation, and his affection for wood-engraving, from the perspective of a family member and a researcher.Note: The session is free of charge.Consolidate Unity, Fight to the End, Liu Xian, Wood-engraving, 9cm x 11cm, 19382"Flowers: From Literati's Refined Taste to Daily Life" LectureTime: 2019.09.21 10:00-12:00Venue: Multi-functional Conference Room, CAFAMSpeaker: Rao Xiang| About the Speaker |Rao Xiang, Doctor of Letters of Peking University, deputy chief editor of Wenhui Supplement of Guangming Daily, specially invited researcher at the National Muesum of Modem ChineseLiterature. His published works include the books Back to Literature Itself and On the Public Affairs and Private Emotions. He has received awards including the China News Award. He is interested in tending flowers and plants in his leisure time.| About the Lecture |In 1958, renowned poet Guo Moruo published his poem series "Hundred Flowers Blossom", chanting about one hundred flowers with one hundred poems, which echoed with the social and political situation of the time, and futher attracted painters to compete to create illustrations for the series. The People's Daily Publishing House later published the anthology of Hundred Flowers Blossom, including engraving works by Liu Xian and other artists. Why did Guo Moruo create the series? How do we examine the poems and the engravings today? Flowers seem to have a natural, close relationship with poems, paintings, literati and artists, so that art is usually connected with the flower appreciation activities. From appreciating flowers to planting them, flowers as an object of appreciation could reflect the typical desire for beauty of the people.Note: The lecture is free of charge.Mimosa of the Hundred Flowers Blossom series, Liu Xian, Wood-engraving, 1959Cockscomb of the Hundred Flowers Blossom series, Liu Xian, Wood-engraving, 19593The History of the "International Wood-Engraving"Time: 2019.09.21 14:00-16:00Venue: Multi-functional Conference Room, CAFAMSpeaker: Yang Hongwei| About the Speaker |Deputy Director of the Department of Printmaking, CAFA, professor and artist.| About the Event |Professor Yang Hongwei is a top-notch wood-engraving scholar and artist in China. The lecture will play the documentary film "International Wood-engraving" for the first time, introduce the history and development of wood-engravng, and the latest progress of the wood-engraving on the international stage, to give the audience an idea of the classic but less known art form of wood-engraving.Note: The event is free of charge.Crime and Punishment I: Moscow, Liu Xian, 9×10cm, Wood-engravingWhite Night (Work of Dostoevsky) Illustration No.6 (10 in total), 10×9cm, Wood-engraving, 1935 More

Female Artists Made Little Progress in Museums Over the Past Decade ...

2019-09-20

Only 11 percent of all acquisitions and 14 percent of exhibitions at 26 prominent American museums over the past decade were of work by female artists, a joint investigation by artnet News and In Other Words discovered.What rings an alarm is that although museums claim that they are embracing alternative histories and diversities, the number of works by women acquired decreased from 10 years ago. The problem is even more serious for encyclopedic museums, which collect fewer works by female than modern and contemporary museums.Barbara Kruger, Belief+Doubt, 2012, at the Hirshhorn Museum & Sculpture Garden. ©Barbara Kruger. Photo: Cathy CarverThere are a number of reasons why museums have failed to increase their representation of female artists. For one thing, their work is often seen as a pursuit parallel to the authoritative art history, while many institutions held an unspoken belief that “they will only be recognized as an important institution if they acknowledge the greatest hits,” said Maxwell Anderson, the president of the Souls Grown Deep Foundation. Such bias may further be consolidated by the museums’ past collections.Another reason is a lack of research about female artists. One example is a recent study by Yale School of Art students, which discovered that although graduation rates reached parity in 1980s, female alumni were written about in books and academic publications two to three times less than their male peers.While museum collections is an important record of history, the bias in gender may have great impact on how the posterity understand the past. However, it is often challenging for curators to convince their acquisition committees to purchase the work, especially by older, overlooked female artists, who usually lack auction history that could be a reference for validation of the asking price. Moreover, as museum collections rely markedly on donated work, the museums had to go with the trend that people tend to buy male artists.For the museums, striving for parity is not only a matter of doing the right thing, or telling a more accurate history, but also a significant method to ensure their relevance and financial sustainability.“The public that you are selling to is not monolithic - it is not all white males,” commented Susan McPherson, founder of McPherson Strategies consultancy and an expert on corporate social responsibility. “So if your viewpoint is narrow, you won’t be able to grow membership and your customer base.”Opening for “Hilma af Klint: Paintings for the Future.” Photo: Paul Rudd © Solomon R. Guggenheim FoundationHowever, while some museums, such as the Baltimore Museum of Art and the San Francisco Museum of Modern Art, made their moves by selling works by canonized white men to diversify their collections, there are also some opposite voices, arguing that putting a gender quota on the museum’s acquisitions might lead to too much attention on gender instead of the work’s quality. Responding to this doubt, artist Micol Hebron said: “I think we are going to have conversations that are uncomfortable for a lot of people about quotas. There has been a quota of more men than women for centuries.”Source | artnetAuthor | Julia Halperin & Charlotte BurnsEditor | Lu Yufan More

A New Definition of “Museum” Sparks International Debate ...

2019-09-05

The British MuseumThe forthcoming International Council of Museums (ICOM)’s 25th General Conference will witness members voting for a new museum definition. Before that, a new definition proposed by Jette Sandahl, Danish curator who leads ICOM’s commission on the new definition, has sparked international controversy.Believing that the current museum definition, adopted at ICOM’s 22nd General Assembly in Austria in 2007 (Check the definition here), lacks “language of the 21st century” by ignoring demands of “cultural democracy“, Sandahl amended the definition that reads as follows:“Museums are democratizing, inclusive and polyphonic spaces for critical dialogue about the pasts and the futures. Acknowledging and addressing the conflicts and challenges of the present, they hold artifacts and specimens in trust for society, safeguard diverse memories for future generations and guarantee equal rights and equal access to heritage for all people.Museums are not for profit. They are participatory and transparent, and work in active partnership with and for diverse communities to collect, preserve, research, interpret, exhibit, and enhance understandings of the world, aiming to contribute to human dignity and social justice, global equality and planetary wellbeing.”The proposal soon pulls criticisms, many from professionals in museology. Juliette Raoul-Duval, chair of ICOM France, denounced it as an “ideological” manifesto. Hugues de Varine, a former director of ICOM and an early upholder of the “new museology” movement in the 1970s, was reported by the Art Newspaper to be surprised by the “over inflated verbiage” of an “ideological preamble,” which does not identify a museum from a cultural center, library or laboratory.François Mairesse, professor at the Université Sorbonne Nouvelle and the chair of the International Committee of Museology, also criticized the proposal as “a statement of fashionable values”, which is “much too complicated and partly aberrant“, far from a definition that is supposed to be “a simple and precise sentence characterizing an object”. She then told the Art Newspaper: “it would be hard for most French museums, starting with the Louvre, to correspond to this definition, considering themselves as ‘polyphonic spaces’.” Her opinion is shared by many critics who regard the new definition as too political and too vague for defining museums. Not only do the professionals disapprove of the new definition, as the Museums Association posted the definition on its Twitter account with a poll, there are also 62% of the 226 votes against it.ICOM also has also called for new museum definitions from the public around the world since April. While there are 269 entries listed on their website, the proposed definition was not chosen from any of these submissions but picked internally by Sandhal’s commission. The voting will take place in Kyoto, Japan on September 7.Author | Zachary SmallSource | HyperallergicEditor | Lu Yufan More

“大美之艺——中央美术学院的艺术创造与美育影响” 正式开展 ...

2019-08-30

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

Autism in Museums: A Revolution in the Making ...

2019-08-28

Diversity, equity, accessibility - these qualities of modern museums require them to attend to the needs of neurodiverse visitors and staff. Clarie Madge, founder of the UK-based Autism in Museums, shares her view on how museums should do to support autistic visitors and employees.For Madge, mother of two autistic children, it was mind blowing when her family visited the Early Birds at the Science Museum event in 2012: Opening early at 8 a.m., the event was specially designed for people with autistic spectrum, with number of visitors kept low, visual support for visitors well provided, staff all trained in autism awareness and the museum environment well attended - for example, the museum turned off loud interactive media and hand dryers in the restrooms.As a family with autistic members, it is not easy to enjoy a family day out. The fantastic experience at Science Museum made Madge realize how much the autistic families need such event, and how important it is for the museums to learn how to support autistic visitors. She then founded Autism in Museums, working with museums to make them a more accessible space for the autistic.Early Birds at the Science MuseumWhat does it mean to be autism-friendly? Firstly, the museums should avoid crowded hours, overly bright or dark galleries, loud interactive media and audio triggered without warning. They also need to highlight unwritten rules, such as what one can or cannot touch.While most museums don’t have the condition to do early opening, they can instead provide materials that allow autistic visitors to prepare in advance for a visit, so as to reduce anxiety over visiting a new place. Examples include Museum of English Rural Life’s visual story and sensory map of their galleries, collaborated with local autism groups, as well as Google Streetview tour on its website.Except from the increase of physical accessibility, it is of the same importance for museums to think about displays and interpretation of artworks, as 44-52% of autistic people have learning difficulties.Autism in Museums has by far cooperated with museums including the National History Museum and the V&A, to support their programming for autism families. Madge believes that by creating an accessible environment for the autistic people, the museums are also benefiting from it, as autistic visitors often prove to be incredibly loyal, have an intense focus on a particular topic, and are potential to be future volunteers and staff members. Author | Claire Madge, founder of Autism in MuseumsSource | American Alliance of MuseumsEdited by Lu Yufan More

Child Public Education Reservation Form

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

Adult Public Education Event Reservation Form

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

Group Public Education Event Reservation Form

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

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Event Booking Form

Name:
Gender
Phone:
Valid Certificate: Identity Card
ID Number:
Email:

Reminder:

Hello! Thank you for participating in our public education event and we are looking forward to seeing you! If you cannot attend the event on time, please send a text message to 13261936837 (Liang) to cancel the booking. Please be aware that your eligibility for using the quick booking may be affected If you cancel the booking more than three times. Thank you for your understanding!
Quick loginAccount login
  • Mobile phone number will be your login ID
  •  
Use Artron membership to login