Exhibitions and Events-News- CAFA Art Museum

Exhibitions and Events－News

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

: UK’s Collections Trust announces plans for improved museums database

2021-05-08

The recently published new database plan includes three key areas: connect and collect, use and enhance, and store and preserve.
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: Closing Notice

2021-04-30

CAFAM opens from 9:30am to 5:30pm on May 1, and closes from May 2 to May 8 due to uninstallation and installation of exhibitions.
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: The Pandemic’s Impact on Museum Workers’ Mental Health

2021-04-30

It's been over a year since the COVID-19 outbreak was declared a global pandemic, but another health crisis has been silently brewing. Experts are beginning to measure the virus’s devastating effects on museum workers' mental wellbeing.In the museum field, workers experienced sweeping job loss, salary cuts, and burnout that exacerbated the pandemic’s stressors. The American Alliance of Museums (AAM) did a survey on the mental impact of the pandemic in the museum field, and collected 2,666 responses from full and part time museum staff, independent consultants, volunteers, students and retirees. It finds that museum workers reported "a grave toll on their mental health and wellbeing from the pandemic", the impact of which rated an average of 6.6 out of 10 (where 10 indicates very strong negative impact).Though many institutions had been shutting down for a long time, half of museum staff reported a heavier workload, and more difficulty adapting to working remotely. The pandemic had a greater impact on part-time workers and freelancers, who are an essential part of the museum workforce. Over half have had their contracts cancelled or indefinitely postponed, losing more than half of their pre-pandemic income and average.The report also reveals a role of gender and race in museum workers’ experiences of pandemic-related mental health factors. Women were more likely than men to report increased workload and adverse effects on working hours, salary and wellbeing; while BIPOC respondents reported higher financial stress than while respondents.Meanwhile, the findings also demonstrate empathy among museum workers: Despite experiencing personal hardships, when asked to indicate how worried they were about various issues, respondents’ greatest shared concern was for the wellbeing of colleagues.Source | American Alliance of Museums, HyperallergicAuthor | Valentina Di Liscia
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: The Louvre digitizes 482,000 artworks from the depths of its collection

2021-04-16

Art lovers may now wander in the sea of the Louvre’s collection just online. The prestigious French museum has recently released its new online database, featuring nearly half a million artworks recently digitized from the collection.“The Louvre is dusting off its treasures, even the least-known,” said Jean-Luc Martinez, the museum’s President-Director, in a statement. “For the first time, anyone can access the entire collection of works from a computer or smartphone for free, whether they are on display in the museum, on loan, even long-term, or in storage.”The new website replaces the museum’s former Atlas database, which only included works on display. Now, of the 482,000 artworks currently digitized, there are antiques from the Louvre’s permanent collections, works on long-term loan from and to other French or foreign institutions, and there’s even an album titled Musées Nationaux Récupération (National Museums Recovery), dedicated to the objects that may have been looted by Nazis or colonial forces, which are currently entrusted to the Louvre and other French national museums for safekeeping until they can be returned to their legitimate owners, an ongoing process, according to the museum’s website.The entries in the database is updated daily by different curatorial departments from the Louvre. The site offers several research tools, including full-text search engine, advanced search form, and a complex of search filters like date of creation, location, category of work, artist to make it easier for people to find their objects of interest.Source | HyperallergicAuthor | Valentina Di Liscia
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: “Art in Kung Fu” exhibition extended to May 1: See how CAFAers paint the Red Army Recipe with 100 oil paintings

2021-04-14

The much welcomed exhibition "Art in Kung Fu: Honoring the 20th Anniversary of the Foundation Program at the School of Fine Art" will be extended to May 1. All visitors (including guests with invitation) are required to make real-name appointment in advance, and enter the museum upon wearing masks and showing green health code. Please scan the QR code at the end of the page to make an appointment. CAFA teachers and students may visit without making appointments.Wild vegetables, grass roots, barks, leather products...how impactful would it be if all these matters, which are the actual food of the Red Army during its Long March, are collected and shown together? The "Art in Kung Fu: Honoring the 20th Anniversary of the Foundation Program at the School of Fine Art" exhibition was opened at CAFA Art Museum on March 25. In it three walls of 100 paintings from the work Red Army Recipe show the food of the Red Army during its Long March, which were researched and painted by a group of CAFA teachers and students in a field trip to Zoige County in Sichuan Province, a stop of the Long March.The year 2016 is the 80th anniversary of the success of the Long March. To celebrate the moment, teachers and students from the Foundation Program at the School of Fine Art organized a "Long March Again" team. Under the guidance of Professor Zhang Lujiang, who was also the director of the Foundation Program and the Deputy Director of the School of Fine Art at the moment, the team went to Zoige County, in Aba Tibetan and Qiang Autonomous Prefecture, Sichuan Province, where the Long March went through, and finished the 100-painting series Red Army Recipe. "The airport is located at 3,500 altitude. Although we have prepared medicine for the altitude sickness, five students still went to the hospital," recalled leading teacher Zhang Han of the first night that the team arrived at the Aba Hongyuan Airport, "It took a few days for us to get used to the climate."In 1934-1935, three main forces of the Red Army (First Front Army, Second Front Army and Fourth Front Army), marched from Sichuan to Gansu through the Zoige County. This is the only county in Sichuan that the three main forces all had left their traces. Tens of thousands of the Red Army soldiers rest in peace in Zoige, and live in the many widely spread heroic epics today. Unlike many of the past theme-based creative works, the team focused on details - food - this time, because the true details dormant deep in the history is much more alive than the stories we pass around.To better carry out the creative work, we divide the team into 12 groups based on the historical archives we found regarding the Long March. Each group has its special task, which are categorized as planning, making fire, leather products, fungi, cooked food, wild vegetables, grass roots, wild fruit, barks, dried meat, cereal, searching. For example, the "making fire" team was responsible of finding the kitchenware Red Army used during the Long March, and used the same type of ware to heat food and restore the scene; the "searching" team went to historical site, former residences of celebrities, and residences of the Tibetan locals, to search for the utensils Red Army has used. In the 15-day field work, the group searched for food in teams, and tried their best to restore the actual scene of the Long March. The paintings are not simply a description of what happend, but also brimmed with strong emotions. We can see on them an experience of numerous hardships that eventually lead to bright glory.According to Zhang Han, every group member has tasted themselves the food that the Red Army ever had. Out of the 100 paintings, one features some carrots. "I saw this carrot at a Tibetan shepherd's home, and said to him that it's afterall not that bad if the Red Army could live by the carrots. Then the shepherd said that it's for pigs - people don't eat that there," Zhang said, "I brought some of the carrots to the painting base camp for people to taste them, and they were really horrible, dry like wood." Teachers and students also tasted cooked grass roots and leather belts. "Through the experience of taste, we know more deeply the difficulties of the Long March.The climate of Zoige is very changeable. Rains and hails were common during the time the group was there. They usually had solid food for lunch in order to have more time for the creative work. "In the beginning, some students painted aesthetically beautiful still life like when they were at class, but after guidance from the teachers, and their true experience at the site, their paintings show difference in brush strokes, texture and spirit," said Zhang Han. Many students cried upon hearing the stories of the Red Army. In the middle of the vast grassland, the creators had a dialogue with the Red Army across time.There are many moving details in the exhibited paintings. Some have pasted cereals like highland barley and wheat into the paintings - people can almost smell the scent of the cereals. There is also a special painting, which draws a neatly folded military uniform. A dying Red Army solder took off his uniform in case his body would get cold and make it difficult for others to take it off, so that the soldiers who pass him by later would use his uniform to get warm or feed their stomach.The exhibition is composed of six sections: De (德, virtue), Su (素, sketching), Cai (彩, color), Xing (行, fieldwork), Yan (延, continuity), Pu (谱, writing history), and displays over a hundred outstanding works by the teachers and students at the Foundation Program. Like CAFA director Fan Di'an said, attaching importance to foundational teaching is one of the most established tradition of CAFA. We hope this exhibition could be an opportunity to comprehensively show the teaching patterns and achievements of the Foundation Program in the last two decades, and discuss the future developments of the foundation teaching.The exhibition will be extended to May 1.Art in Kung FuHonoring the 20th Anniversary of the Foundation Program at the School of Fine ArtTime: 2021/03/20 - 05/01Location: Gallery 2B, 3A, 3B, CAFA Art Museum丨Organizer丨Central Academy of Fine Arts丨Undertaker丨Foundation Program at the School of Fine ArtCAFA Art Museum丨Academic Director丨Fan Di'an丨Curator丨Bai XiaogangScan the QR code to purchase ticketScan the QR code to make an appointment
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: This miniature museum exhibition will show tiny works by Damien Hirst, Rachel Whiteread, and other artists

2021-04-09

In what may be the tiniest museum show ever, England’s Pallant House Gallery will showcase work this summer by more than 30 of Britain’s most famous artists, including Damien Hirst, Rachel Whiteread, Maggi Hambling and Grayson Perry.Titled "Masterpieces in Miniature", the show invited these artists to create tiny version of their original works - all ranging from the size of a pound coin to no larger than 20cm - for an architectural model gallery.The works span all media, from Damien Hirst’s half-inch spin painting to Edmund de Waal’s tiny ceramic sculpture atop a petite pedestal. Even John Akomfrah’s stirring film installations have been compressed into a photographic triptych that fits inside one lilliputian gallery.The dollhouse-sized space will be the third model gallery in the Pallant’s collection, following the "Thirty Four Gallery" created in 1934 and "The Model Art Gallery 2000" that was commissioned by the Pallant House Gallery to mark the new millennium. The trio of model galleries comprise a micro capsule of more than 80 years of British art, encompassing artists from the Bloomsbury Group, the Pop art era, and the Young British Artists of the 1990s.The collaborative project is "filled with optimism and hope for the future: about creating something positive out of all this disruption and uncertainty," said Pallant House Gallery director Simon Martin in a statement. “All the usual complex considerations about curation and display have come into play, about different media and forms of art including painting, drawing, sculpture, site-specific installation, and photography.” The Pallant also has plans for the exhibition to travel to other venues in the future.Source | artnet NewsAuthor | Caroline Goldstein
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: Public Notice | CAFAM Opens during Qingming Festival

2021-04-02

CAFAM opens to the public during the Qingming Festival (April 3 - 5) from 9:30 a.m. to 5:00 p.m. Please visit after making real-name appointment. Entry is upon wearing masks and showing green health code. Please scan the QR code below to make an appointment. Meanwhile, to cooperate with CAFA's daily teaching practices, special entry to CAFA students on Wednesdays and Fridays is cancelled. CAFA students could visit the CAFA Art Museum during the opening hours without making appointments. CAFA Art MuseumApril 2 2021Current Exhibitions(Click on the poster to view exhibition details)Art in Kung FuHonoring the 20th Anniversary of the Foundation Program at the School of Fine ArtUnique Charm: Exhibition of Works Donated by Liang Yunqing
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: How and why museums appear on screen

2021-03-29

Despite the difficulties of large film crews descending on an historic site, the importance of incomes derived from these collaborations has never been more pronounced. Other than using the filming income to support its events, exhibitions, education and outreach work, and help with the upkeep of the building, the exposure on screens also has the benefit of engaging new audiences.
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: Public Notice

2021-03-29

To cooperate with CAFA's daily teaching practices, CAFA students could visit the CAFA Art Museum during the opening hours. Special entry to CAFA students on Wednesdays and Fridays is cancelled. All visitors (including guests with invitation) are required to make real-name appointment in advance, and enter the museum upon wearing masks and showing green health code.
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: Monthly subscriptions make membership easy to say yes to

2021-03-26

As cultural organizations continue to face declining membership and significant lost revenue during the pandemic, many are seeking ways to engage new audiences and retain existing members. Luckily, while the long-term impact of the crisis is still unknown, the path to a more accessible and financially sustainable membership program is clear: monthly membership.For years, monthly membership has been growing in popularity across the border non-profit sector, and proves to show some promising results: According to some studies, revenue from monthly giving increased by 22 percent in 2019, more than twice the revenue from one-time gifts; retention rates for monthly donors are from 85 to 95 percent, nearly twice the rate of other types of donor; and monthly giving can attract a younger, more diverse audience.Photo credit: Franck on UnsplashIt is especially during the pandemic, when budgets are tight for both members and institutions, that monthly membership could help museums to generate predictable and consistent cash flow. Museums may treat monthly membership as a simple alternate option to annual membership, and they may also make monthly membership an entirely new product with special monthly programs or a unique set of benefits. Meanwhile, monthly membership has the potential to be considered as a less consumer-driven alternative, shifting the members’ mindset towards donation rather than a consumption that usually involves cost-benefit calculation.What’s more, monthly membership can be a mechanism for improving diversity, equity, accessibility and inclusion within cultural institutions. This has been the case at Carnegie Museums of Pittsburgh. Its monthly program launched in 2015 has "proven to be a way to diversify the membership base", according to the museums’ former Associate Vice President of Engagement Cari Maslow. By offering a more affordable option, many more museum lovers have the opportunity to access the benefits of membership, especially younger audience. It could also be an opportunity for young people to grow a lifelong interest in visiting museums.Source | American Alliance of MuseumsAuthor | Rosie Siemer & John Lewis
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Child Public Education Reservation Form

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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

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

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

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

I have carefully read and agree to the above provisions.