Exhibitions and Events-News

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

This Amsterdam Museum Seeks to Preserve Street Art Using VR ...

2019-12-18

While VR technology is increasingly applied in art making and exhibitions, amplifying and transforming the audience’s visual experience, a proposal by an Amsterdam museum offers a new possibility of the technology in the art industry.Recently, the Street Art Museum Amsterdam (SAMA) proposes to use VR as a method to preserve one of its street artwork collection. Named “Fatherhood”, the work is a monumental mural made in 2015 by Colombian artist Stinkfish. It is located in the heart of a residential community in Amsterdam Nieuw-West, and will soon be demolished due to renovations in the neighborhood.As a contemporary eco-museum which has built a collection of around 300 street artworks, SAMA commissioned its works not within four walls but on the street for everyone to see and enjoy. “Fatherhood” is not the first of its collection that faces demolishing. On its Kickstarter page (though the fundraising has already ended in failure), the museum stated that around 70% of its artworks have been removed, demolished or painted over.By using VR technology, SAMA hopes to not only preserve the work, but also let the audience experience the work in ways that would be impossible even in reality. “It is incredible to see how progress in XR technologies is enabling grassroots initiatives to affordably reach the goal such as the first-ever street art VR catalogue online to promote marginalized neighborhoods, whilst continually using street art as a tool to dialogue for inspirational and emancipatory goals.” commented Dr. Gabriele Romagnoli, XR coach and official advisor for the San Francisco AR/VR Association.Source | VR focusAuthor | Peter GrahamEditor | Lu Yufan More

Lecture Info | An Unknown Masterpiece: "Bye Bye Photography" by Moriyama Daido ...

2019-12-16

2019/12/17 18:30 - 20:30 | CAFAM Lecture Hall More

Workshop Info | Wang Bingfu's Art Promotion through Sixty Years - Traditional Line Drawing ...

2019-12-16

The open class would help the public to experience the "Chinese methodologies" and "Chinese experiences" summarized by Mr. Wang. More

The Tide of Change: Manchester Museum Becomes First in UK to Repatriate Objects ...

2019-12-12

As more and more museums in Europe and the US begin to return objects looted from indigenous peoples during colonial period, the Manchester Museum in England became the first one to do so in the United Kingdom.The museum has repatriated a group of 43 objects considered sacred to four indigenous groups in Australia: the Aranda people of Central Australia, the Gangalidda Garawa people of northwest Queensland, the Nyamal people of the Pilbara, and the Yawuru people of the Broome, both in Western Australia.Many of these objects were held in Manchester since the 1920s, and were not on display for decades. The return was made in partnership with AIATSIS (Australian Institute of Aboriginal and Torres Strait Islanders Studies), which aims to build a world in which aboriginal cultures are recognized, respected and valued.Several handovers of the objects will be held from November to February 2020. In an open letter following the first handover event, Esme Ward, Director of Manchester Museum, reflected on the current repatriation mechanisms, and highlighted the importance and urgency of a more open, transparent and unconditional repatriation:“Debates about repatriation usually focus on what is lost, not what is gained,” Ward wrote, “…If museums are to reflect the complexity of the human condition and of people’s understanding of the world and each other, we must find space for the spiritual and emotional. Yet, the repatriation debate takes place on the grounds staked out by western rationalism and is framed solely in terms of ownership.”She believes that what is repatriated along with the objects invisibly to the source community is dignity, respect and autonomy, and repatriation and its associated work “could and should create a context that helps define our sense of global connectedness and even contendedness - when it is needed more than ever.” And this not only benefits the source community, but also the museums, which can be spaces for identity-forming and truth-telling. As Ward wrote: “I believe repatriation shifts the processes, language and thinking of the past towards a context of possibility and action for the future. Our museums can become places of genuine exchange and learning, reconciliation, social justice and community wellbeing.”Source | Manchester Museum, The ARTnewsAuthor | Esme Ward, Maximiliano DuronEditor | Lu Yufan More

Lecture Info | Gary Hill: Place Holders ...

2019-12-11

Time: 2019/12/12 18:30-20:30 | Location: CAFAM Lecture Hall More

Lecture Info | Stelarc & Ann Hamilton ...

2019-12-10

MEAT, METAL & CODE: Alternate Anatomical Architectures & The Practice Of Tactile Attentions More

The Nefertiti Bust Meets the 21st Century ...

2019-12-06

The Nefertiti bust, created in 1345 B.C., is the most famous work in the collection of Berlin’s Neues Museum. The museum has long banned its visitors from taking any kinds of photographs of the bust, but recently, artist and 3D scanning expert Cosmo Wenman announced that the museum has sent him a flash drive containing full-color scans of the famous artifact, and published these scans online for free download.It took Wenman three years of legal battle to achieve the access of the data. In 2016, a digital replica of the bust was published to the world. While the Neues claimed that it was made by two artists who smuggled an entire 3D scanning rig under trenchcoat into the museum, the art world didn’t really buy the story, as the digital scan was simply of too high a quality. A leak rather than heist, they believed. Wenman further submitted a request citing German freedom of information laws that apply to state-funded institutions including the Neues. Although the museum first offered him the chance to view the scans under supervision, but they eventually collapsed and gave Wenman the high-resolutions, full-color scans.“It’s very difficult to find anyone who is able to actually articulate a coherent reason for keeping this kind of data away from the public,” Wenman tells artnet News. “I believe their policy is informed by fear of loss of control, fear of the unknown, and, worse, a lack of imagination.”However, the scans are not the perfect replica of the bust - the Neues etched a digital copyright license into the bottom of the bust, claiming the authority to restrict how people might use the file. It used a Creative Commons Attribution, NonCommercial, Share-Alike license, requiring people to give the museum attribution, not use it for commercial purposes and allow other people to make use of your version. Failure to comply with these requirements would mean infringement on the museum’s copyright - a copyright in the scan of a 3,000-year-old sculpture created 3,000 miles away.According to Michael Weinberg, executive director of the NYU School of Law’s Engelberg Center on Innovation Law & Policy, although EU copyright law does not make clear about the status of 3D scans of public domain works, it clarifies that digital versions of public domain works cannot be protected by copyright. The Neues’ etching is practically meaningless, but even though Weinberg is afraid that the message could discourage those who would use the 3D scans in classroom and art creation, and prevent people from holding the piece in a virtual reality world.What’s more, such restrictions are against the entire mission of museums, which should maintain and share cultural heritage to make sure people have access to our collective history. The incident also triggers debate on how museums should handle digital artifacts - while many museums create three-dimensional scans of their artifacts, only some have made the scans available to the public.Source | Slate, SmithsonianAuthor | Michael Weinberg, Theresa MachemerEditor | Lu Yufan More

"Sketches and Oil Paintings of Pan Shixun" Exhibition Opens on December 3 ...

2019-12-02

Time: 2019/12/3 16:00 Location: CAFAM Lecture Hall More

Xu Beihong and His Time" Exhibition Tours in Jinan ...

2019-11-28

Co-hosted by CAFA Art Museum, Publicity Department of Jinan Municipal Committee of the Communist Party of China, and Jinan Department of Culture and Tourism, as the 2018 annual communication and promotion project of National Art Fund, "Xu Beihong and His Time" exhibition is now touring in Jinan, Shandong. On November 23, its opening ceremony was held at the Jinan Art Museum, participated by over 1,500 people including Jinan municipal officials, art practitioners, scholars and educators from Shandong Province, CAFA professors including Director of the CAFA Art Museum Zhang Zikang and the exhibition's curator, Director of Department of Publications at CAFA Art Museum Hong Mei. The ceremony, hosted by the Director of Jinan Department of Culture and Tourism Zhi Liang, began with a promotional video that reveals the splendid achievements of modern Chinese art masters led by Xu Beihong and the significance of the exhibition, which approaches the art world of the master from a new, contemporary perspective. Wang Shaojun, Deputy Director of CPC Committee of CAFA, Yang Feng, Director of Publicity Department of Jinan Municipal Committee of the Communist Party of China, and Zhang Wang, President of Shandong Artists Association, also gave their speeches.Wang Shaojun, Deputy Director of CPC Committee of CAFA, gave his speech.In his speech, Wang Shaojun said: "There's a special significance of the ‘Xu Beihong and His Time’ exhibition's tour in Jinan. On the one hand, Mr. Xu has a history with Jinan. After he went back to China from his study in France, his painting of grand historical events were inspired by Jinan's history; on the other hand, as an important art province in China, Shandong has been attaching great importance to the inheritance and promotion of traditional culture." Wang also expressed his hope for CAFA and the Jinan art circle to have more cooperation in the future.Yang Feng, Director of Publicity Department of Jinan Municipal Committee of the Communist Party of ChinaZhang Wang, President of Shandong Artists AssociationGuests at the ceremony inaugurated the exhibition together.After the ceremony, the exhibition's curator, Director of Department of Publications at CAFAM Hong Mei gave a guided tour of the exhibition.The tour was followed by a symposium around the exhibition. It was hosted by Deputy Director of Jinan Art Museum Zhang Hui, and Hong Mei as the academic presenter. Over 50 scholars, including Deputy Director of CPC Committee of CAFA Wang Shaojun, former director of the Department of Mural Painting Sun Jingbo, Director of the School of Plastic Arts, CAFA and Director of Department of Oil Painting Ma Lu, Director of CAFA Art Museum Zhang Zikang, attended the symposium.Wang Shaojunformer director of the Department of Mural Painting Sun JingboDirector of the School of Plastic Arts, CAFA and Director of Department of Oil Painting Ma LuDirector of CAFA Art Museum Zhang ZikangDirector of Chinese Painting Research Department at CAFAThe exhibition's curator and Director of CAFAM Department of Publications Hong Mei and Deputy Director of Jinan Art Museum Zhang HuiThe symposium centered around the topics "Xu Beihong and His Time", "Reform, Innovation and Development of Chinese Painting", "Formation, Development, Influence and Significance of Xu Beihong Educational School" and the relationship of Xu Beihong and the artists of his time with the context of Shandong. The "Xu Beihong and His Time" exhibition is based on the precious collection of CAFA Art Museum, and exhibits over 110 works by 34 artists of Xu Beihong's time. This is the first time that either Jinan City or Shandong Province holds a large-scale exhibition of modern Chinese art masters since the foundation of New China.The exhibition is presented in two parts: "Pursuit of the Time" and "Inheritance of the School". The first part sets out from Xu Beihong's art, and develops around Xu's realistic artistic idea and his like-minded companions who strived to reform Chinese painting, summarizes Xu's broad, multi-field social connections, and presents the various explorations of modern Chinese art in the 20th century with works of Qi Baishi, Huang Binhong, Zhang Daqian, Chen Shizeng, Fu Baoshi, Ye Qianyu, Li Keran, Jiang Zhaohe, Chang Shuhong and Li Kuchan. In the second part, the exhibition studies the art approach of Xu Beihong, Wu Zuoren, Ai Zhongxin, Sun Zongwei, Li Zongjin and Feng Fasi that supplemented with art education, along with the influence of Xu Beihong's art educational practice and inheritance on the 20th century Chinese art.Through an overall and deep summay of the art and influence of Xu Beihong and his time, clarify the history of development of 20th century Chinese art, and review the formation of 20th century Chinese art, the exhibition has special significance for the current development of Chinese art.The exhibition will last till December 10 (The museum opens on Monday during the exhibition.)Chinese text by He YifeiPhoto by He Yifei and Yin Xiang More

Lecture Info | Design Critism and Curatorial Studies Lecture Series: Alice Rawsthorn ...

2019-11-27

A Brief History of Design Criticism & Design as an Attitude More

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Adult Public Education Event 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

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.

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