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.

: CAFAM Lecture Info | Making Experiences: Embodiment in Interactive and Robotic Arts - Louis-Philippe Demers

2019-05-13

Leonardo Art, Science and Technology Lecture SeriesMaking Experiences: Embodiment in Interactive and Robotic ArtsSpeaker: Louis-Philippe DemersDate: 16.05.2019 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 reports on experiences with systems, spaces and robots in the context of my artistic explorations. I will address embodied experiences, looking at physicality as opposed to virtuality and at analog as opposed to digital computation in the realm of Digital/Electronic Media.The far-reaching and often surprising implications of embodiment will be explored. This presentation will look at several levels of embodiment, from the ecological to the social, from the perceptual perspective of the audience to the perspective of the robotic agents itself.Rooted in causality and animacy, the qualia of a robot behavior or is multi-layered, multi-faceted and it results from the simultaneous composition of cues ranging from the morphology to the very situatedness of the object in movement. Physical spaces and objects have a material existence whilst audiences share this very same world. Our body is not primarily in space: it is of it. This leads not only to tangible interfaces and immersive spaces but also creates a contributing cultural context as an integral part of the experiences.We share and identify to biological, social and cultural experiences with performers on the stage. Phenomenologists and theatre theorists claim that these experiences are vastly grounded in the experiential body. What happens when we inject artificial constructions not only on the stage but also in tacitly human social scenarios?In the course of these investigations, I started developing artworks entailing singular bodily experiences such as being touched by a robot (The Blind Robot), being controlled by an exoskeleton (Inferno), merging with machine (Devolution) and merging proprioception between machine and human (Repeat).Having these radical encounters at the liminal space bordering man and machine, it forces audiences to (re)consider their human bodies and (re)visit their embodied experiences. About the Speaker Louis-Philippe Demers makes large-scale installations and performances. He participated in more than seventy artistic and stage productions and has built more than 375 machines. Demers' works have been featured at major venues such as Theatre de la Ville, Lille 2004, Expo 1992 and 2000, Sonambiente, ISEA, Siggraph and Sonar. He received six mentions and one distinction at Ars Electronica, the first prize of Vida 2.0, mentions at Vida 12.0 and 15.0, two jury recommendations at the Japan Media Arts Festival, the Interactive prize for Lightforms 98 and six prizes for Devolution including two Helpmann Awards. Demers holds a Ph.D. on robotic performances from Plymouth University. He was Professor at the Hochschule für Gestaltung Karlsruhe, affiliated to the world renowned Zentrum für Kunst und Medientechnologie (ZKM, Germany). Afterwards, Demers joined the Interaction and Entertainment Research Centre of the Nanyang Technological University (NTU) where he was also Associate Professor at the School of Art, Design and Media. Demers is now Professor of Creative Innovation and Director of the Creative Lab at the Queensland University of Technology.Inferno（2015）Robotic performance projectThe Blind Robot（2012）Touch and Interactive Robotics
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: ICOM Calls for New Museum Definition

2019-05-13

The International Council of Museums (ICOM) is calling for a new museum definition on its official website.Founded in Paris in 1946, the non-governmental organization is one of the world’s most influential organizations on museology. ICOM has made 7 amendments to the definition of museum since its founding. The current definition was adopted at ICOM’s 22nd General Assembly in Vienna, Austria, in 2007.“A museum is a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment.”As museums have rapidly transformed, adjusted and re-invented their principles, policies and practices, ICOM believes the current definition could no longer reflect the challenges, manifold visions and responsibilities.There’s no specific requirements for the format of the new definition, though ICOM would like it to reflect a few parameters, as listed below:The deadline for new proposals is May 20, 2019. So far, ICOM has already published here nearly 200 proposals, 5 of which are from China. Decision on a new definition will be made in Kyoto this September, during ICOM’s 25th General Conference.Source | ICOMEditor | Lu Yufan
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: CAFAM Lecture Info | "Location": Historical Writing, Chinese Contemporary Art Practices and Interactions

2019-05-13

As Chinese contemporary art engaged closely with international art scene during the past four decades, it developed a conflicting and complicated context that represents both the cultural strategies during local modernization, and the post-traditional and modern dialectic developments against the globalized background. In other words, it ic because of this complex self-adjustment of cultural psychology and spiritual system, that Chinese art, its history and methodology today cannot be simply defined by its national identity and culture.Artist Wang Gongxin received his art education in China and the US. His art practices are shown in major museums and galleries all over the world. This time, Wang will base his lecture on his new solo exhibition “Under the Shadow - About BIAO”, introduce a series of “site-specific” works, and elaborate on his experimental thinkings about the historical context of Chinese contemporary art and social issues. Dong Bingfeng, research fellow in the School of Intermedia Art, China Academy of Art, will give his lecture about the concept of location and place, and their inter-relation with historical writing. In response to Wang Gongxin’s personal practices and the multi-dynamic development of Chinese contemporary art history, Dong’s speech will dig into the open-ended meaning of “How contemporary can be history?” (as per Huang Zhuan).The symposium will be hosted by Professor Song Xiaoxia of Central Academy of Fine Arts.Wang Gongxin, BIAO, 1995, Halle 10. Ludwingsburg, Germany Wang Gongxin, Digging a Hole in Beijing, 1995, NO.12 House of Arts, Beijing, China Wang Gongxin, Two Square Meters, 1996, “Open Studio” Program, NO.12 House of Arts, Beijing, ChinaWang Gongxin, Full Moon, 1998, Power House, Brisbane, AustraliaWang Gongxin, Always Welcome, 2003, Lijiang 2003 International Artists Workshop, ChinaWang Gongxin, Rice Snowing, 2003, Echigo-Tsumari Art TriennialWang Gongxin, It's Not About The Neighbors, 2009 Arrow Factory, Beijing, ChinaWang Gongxin, Screensaver, 2010, MAAP Public Art Program, ShanghaiWang Gongxin, SALON-IT'S ABOUT WALL, 2017, Redtory Museum of Contemporary Art, Guangzhou, ChinaWang Gongxin, Sky of Beijing-Digging a Hole in New York, 2017, The Guggenheim, New YorkWang Gongxin, Under the Shadow - About BIAO, 2019, The Bunker Space, Beijing About the Speakers Wang GongxinWang Gongxin (born in 1960 in Beijing, China) lives and works in Beijing and New York. Wang was admitted to the College of Fine Arts, Capital Normal University Academy in 1978, and became a lecturer there upon graduation in 1982. In 1987, he went to State University of New York (SUNY) as a visiting scholar to study a master’s program. In 2013, Wang was nominated for the Olivier Awards XL Video Award for Best Set Design. In 2014, he was awarded an Honorary Doctoral degree at SUNY. Wang Gongxin has exhibited widely around the world, including major exhibitions such as the Shanghai Biennial, and Echigo-Tsumari Art Triennial, and has exhibited in institutions such as the Tokyo Watari Museum of Contemporary Art, Tokyo, Japan; MOMA PS1, New York, USA; Queens Museum of Art, New York, USA; Haus der Kulturen der Welt, Berlin, Germany; Tate Liverpool, Liverpool, UK; National Gallery of Victoria, Melbourne, Australia; Victoria and Albert Art Museum, London, UK; Fukuoka art Museum, Fukuoka, Japan; ZKM Museum of Contemporary Art,Karlsruhe, Germany; SF Moma, San Francisco, USA; Guggenheim Museum, New York, USA; Mori Art Museum, Tokyo, Japan; Hamburger Bahnhof, Berlin, Germany; Institute for Contemporary Arts, London; The Bronx Museum of Arts, New York, USA; White Cube Gallery, Hong Kong, China; OCAT Contemporary Art Center, Shanghai, China; Ullens Center for Contemporary Art, Beijing, China; and National Art Museum of China, Beijing, China.Dong BingfengDong Bingfeng is a research fellow in the School of Intermedia Art, China Academy of Art. He has worked as curator in Guangdong Museum of Art and Ullens Center for Contemporary Art, Deputy Director of Iberia Center for Contemporary Art, Art Director of Li Xianting’s Film Fund, and Academic Director of OCAT Institute. He has also worked as academic committee member, editor-in-chief and international judge of multiple art institutes, art theory publications, and film festivals.He was awarded the CCAA Chinese Contemporary Art Critic Award (2013), the Chinese Contemporary Art Critic Award of Yishu: Journal of Contemporary Chinese Art (2015), the Robert H.N. Ho Family Foundation Greater China Research Grant (2017). His research focuses on visual art, independent films, Chinese contemporary art history and exhibition history, and contemporary critic theories. About the Presenter Song XiaoxiaSong Xiaoxia is a professor and doctoral supervisor from Central Academy of Fine Arts. She received her master’s degree in Chinese Language Studies and Classical Chinese Literature from Peking University, and PhD in Art History from School of Humanities of the Central Academy of Fine Arts. Her research focuses on the 20th century Chinese art history and contemporary art with global perspectives. She has curated academic symposiums including the “Modernity and the Transformation of Chinese Art in the 20th Century” symposium at City University of Hong Kong, “Modern Transformation of Chinese Art” at Shanghai Art Museum, and was the editor-in-chief for the book Self-awareness and Chinese Modernity (Oxford University Press (China), 2006). She teaches courses such as “Research Questions and Methods of 20th Century Chinese Art”, “Contemporary Art Studies”, and “Contemporary Art Studies with Global Perspectives”. She also presents academy-level workshops such as “Art History: Going Towards a New Global Dialogue”, and CAFAM Contemporary Academic Open Lecture workshop series. Bunker Space Symposium Series 2 “Location”: Historical Writing, Chinese Contemporary Art Practices and Their Interactions3:00 - 5:00 pm, May 14, 2019CAFAM VIP LoungeThe symposium is open to the public.Organized by the Bunker Space and Central Academy of Fine Arts.Media Support: Phoenix Art, Artnet, Harper’s Bazaar Art, ArtShard, CAFA Art Info The Bunker Space Head of Exhibition: Colin Siyuan Chinnery Head of Education：Dong BingfengHead of Development：Li YafengFounder & Head of Operation：Peng Xiaoyang Space Admin Director：Xu HongmeiSpace Assistant: Wang YueSpace Volunteer：Sun WeiranThe space is supported by: Du Jie, Jia Wei, Wang Zhaokun, Yang Wenjun, Jade ZhuExhibition are open by invitation only.Contact: 13901189731Website：thebunkerspace.com
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: Lecture Information | From Analog to Digital and from Noise to Signal: Projects in Photography, Media Arts, Data Visualization and Swarm Camera Interactions

2019-05-06

George Legrady, a digital media artist, will present a selection of his works as they evolved from analog to digital, from the still-photographic image to computational-generated interactive digital media installations.
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: Museums Should Take Notes from Black Panther and Beyoncé: How to Engage Visitors in Difficult Discussions Using Popular Media

2019-05-06

The two 2018 Internet sensations, movie Black Panther and Beyoncé and Jay-Z’s “Apes**t” music video, raised public awareness of museum practices in an unprecedented fashion, while shedding some light for museums upon how to engage audience using popular media.
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: CAFAM opens during Labor Day Holiday

2019-04-30

CAFA Art Museum opens from 9:00 to 21:00 during the Labor Day Holiday from May 1 to 4. Current Exhibitions:The Art of Leonardo Opera Omnia (April 16 - May 23, 2019)Marc Quinn: Under the Skin (March 8 - May 1)The four exhibitions below will be extended to May 4:Lin Gang: Painting / Living (March 12 - May 4)Zhou Jirong & Ye Nan : Between the Heavenly and the Human (March 12 - May 4)For Beauty Is Nothing But The Begining Of Terror: Maggi Hambling Paintings And Drawing, 1960 - (March 8 - May 4)Mute Encounters - Bruno Walpoth (March 5 - May 4)CAFA Art Museum will arrange the 2019 CAFA Graduate Students' Graduation Artwork Exhibition from May 5 to 9, during which the exhibition halls inside the museum will be closed. The exhibition The Art of Leonardo Opera Omnia opens as usual in the temporary gallery next to the museum.In order to promote Da Vinci's art upon the 500th anniversary of his death, CAFA Art Museum will host free-of-charge in-depth guided tours during the Labor Day Holiday. The guided tours are one-hour long each, and take place in five time slots:
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: CAFAM EXHIBITIONS&ACTIVITES NOTICE (MARCH - JUNE)

2019-02-28

MUTE ENCOUNTERS: BRUNO WALPOTH The Italian artist Bruno Walpoth has been known as "one of the greatest woodcarving artists of the century". He focuses on the research of human figures, using a simple and unpretentious style to create a special emotional atmosphere. Though the expression and body language of the figure, his work directly reflects the inner feelings. It will be the first time that Bruno's works have been exhibited in Beijing. The exhibition will present 20 new a sculptures which have been prepared specifically for this exhibition, as well as paintings, bronze and paper sculptures that have rarely appeared in his solo shows.Time:2019/3/5-2019/5/1Venue: Gallery 3A,CAFA Art Museum MARC QUINN:UNDER THE SKIN This exhibition will present a selection of the work of the acclaimed British artist Marc Quinn. As one of the leading artists of his generation, Quinn's work explores the recurring themes of art and science; the human body; emotion; and the perception of beauty. For the artist's first solo museum exhibition in China, the works have been drawn from his 30-year career and from multiple series, exploring his enduring interest in identity.Time:2019/3/8-2019/5/1Venue: Gallery 3B,CAFA Art Museum FOR BEAUTY IS NOTHING BUT THE BEGINNING OF TERROR MAGGI HAMBLING PAINTINGS AND DRAWINGS, 1960- Maggi Hambling (born in 1945) is a major British artist who gained an international reputation in the 1980s, only enhanced subsequently byrecent shows at major museums such as the Hermitage in St Petersburg Russia. This will be a career-length exhibition which showcases Magg Hambling's work from the 1960s to the present day-oil paintings, drawings and monotypes. Her most iconic works will be presented in the exhibition, including the extraordinary Walls of Water paintings, as well as her portraits of lovers, family and friends.Time:2019/3/8-2019/5/1Venue: Gallery 4F,CAFA Art Museum CAFA ANNUAL FINE ARTS NOMINATION EXHIBITION·2019— ZHOU JIRONG& YE NAN:BETWEEN THE HEAVENLY AND THE HUMAN The exhibition of CAFA Annual Fine Arts Nomination Exhibition. 2019 will be divided into two parts: 1. Cappella of the History-Zhou Jirong Solo Exhibition: 2. Limit of the Loneliness-Ye Nan Solo Exhibition. Over 70 oil paintings, the works of printmaking and composite materials will be presented, displaying the 30-year art careers of the two artists。Time:2019/3/12-2019/5/1Venue: Gallery 2B,CAFA Art Museum LIN GANGPAINTING/ VITALITY The exhibition will focus on Mr. Lin Gang's oil paintings from life and abstraction works from the perspective of artistic ontology. The former will show how the artist painted the image of external objects, while the latter will show how the artist expressed the spiritual world. Finally, it will aim to outline the internal relationship between Lin Gang’s paintings from life and abstraction works in the past decades, hoping to provide reference for the younger generations in painting practice and creation. At the same time, the exhibition will also review and summarize Mr. Lin Gang’s artistic career and important achievements in an independent section.Time:2019/3/12-2019/5/1Venue: Gallery 2A,CAFA Art Museum ITINERANT EXHIBITION PROJECTSPIONEERING: CHINESE ARTISTS ABROAD IN FRANCEAND CHINESE MODERN ART(1911-1949) The exhibition will be the first large-scale academic exhibition of which CAFA Art Museum has participated in the curating, after the conclusion of the celebrating the 100th anniversary of CAFA. Supported by 2018 China's National Art Fund, the exhibition will show more than 200 artworks loaned from dozens of public and private institutions and art collectors presenting the academic life of more than 50 artists who had studied in France. It will be divided into four sections showing comprehensively the exploring journey of those pioneers in advancing the modernization of Chinese art in the first half of the 20th century, hoping to help to research further the process of formation of Chinese art in the 20th century. It was from Shanghai where the pioneers got on ship to France, taking the first step of the path of Chinese modern art.Time:2019/3/16-2019/6/9Venue: Gallery 3&6,Long Museum West Bund,Shanghai ITINERANT EXHIBITION PROJECTSXU BEIHONG AND HIS TIME The Exhibition will make a comprehensive and in-depth review of the historical contributions of Xu Beihong the first director of CAFA after the founding of new China, as well as the development of Chinese fine arts in his time. It will be of great significance to clarify the historical context of the development of Chinese art in the 20th century, trace the formation of the basic features of Chinese art in the same period, and also develop the contemporary Chinese art.Time: 2019/3/29-2019/5/6Venue: Gallery 2&3,Li’ao He Museum of Fine ArtsBEYOND BOUNDARIES: AN INTERACTION BETWEEN THE CENTRAL ACADEMY OF FINE ARTS, BEIJING AND THE SLADE SCHOOL OF FINE ART UCL LONDON The group exhibition will present works by 24 artists who have been teaching in Central Academy of Fine Arts, Beijing( CAFA)and the Slade School of Fine Art, UCL, London. Coinciding with celebrating the 100th anniversary of CAFA and the 150-year anniversary of the Slade School of Fine Art, Beyond Boundaries will highlight the historic contributions made by the two academies and celebrate the important role of cultivating artists played by CAFA and the Slade. Zhang Zikang, Director of CAFAM will be the art director of this exhibition which will be co-curated by Guo Xiaohui and Andrew Stahl. The exhibition will feature the recent works ranging from painting, sculpture to the new digital media, showing the dynamic samples of current artistic practices in China and the UK.Time: 2019/3/12-2019/4/2Venue: Somerset House,LondonCAFA GRADUATION SEASON, 2019 The annual CAFA graduation season has always been carefullyachievements of CAFA, especially the teaching achievements will bemostly reflected in the graduation works. The works presented in the graduation season will embody the level of the academic research and art creation of the academy. During the CAFa graduation season, the academy will be transformed into a grand museum of fine arts, being open to the whole society as a platform of communication between the the graduates and various circles of the society. How can you miss such a gathering?Time: Early May to Late June,2019Venue: CAFA Art Museum ART EDUCATIONAL PROMOTION SPECIAL PROJECTTHE ART OF LEONARDO-IMPOSSIBLE EXHIBITION In order to mark the 500th anniversary of Leonardo da vincis death, the Exhibition "The art of Leonardo-Impossible Exhibition" will display extremely high-definition and true-to-scale reproductions of all the 17 masterpieces of Leonardo exposed in 11 different top museums in the world. These exceptional reproductions will include the Last Supper, Monna Lisa, the Annunciation, the two versions of the virgin of the Rocks etc. The exhibition, organized in cooperation with the italian Embassy and the italian Institute of Culture, with the technical supervision of the Italian national television RAICom, will start its journey in China from Beijing then touring around the world. It will provide a unique opportunity for the people who are passionate of renaissance art to get closer to the great art heritage left to the world by Leonardo da vinci.Time: Early April to Late May,2019Venue: CAFA Art Museum
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: Closing Notice

2018-12-03

CAFA Art Museum will be temporarily closed from December 4 to 9, 2018 for exhibition installation.For your information, It will re-open on December 9, at 9:30 AM.Welcome to visit the new exhibition. Thank you for your attention!The new exhibition will open soon:远志四韵——李斛的艺术步履 2018.12.09 - 2019.01.03 Everlasting Sincerity of Heart: Li Ruinian and Art Education 2018.12.09 - 2019.01.03苦旅心语——宋源文个案研究 2018.12.09 - 2019.01.03
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: “The Land of Country Remade” Awarded as An Outstanding Exhibition in the 2018 National Exhibition Season of the Excellent Collection from the Art Museums in China

2018-11-22

On November 20, learning from “The Notice of the Ministry of Culture Issuing ‘the Project Planning of 2018 National Exhibition Season of the Excellent Collection from the Art Museums in China’” (Letter of Approval [2018] No. 15), the acceptance work of this project has been successfully completed. Carefully reviewed by a panel of experts and examined by the Ministry of Culture and Tourism, “The Land of Country Remade – Research Exhibition on the Movement of New Chinese Guohua Painting in the 1950s-60s”, planned by CAFA Art Museum, won the Outstanding Project Award. A total of eleven projects are selected as excellent exhibitions and will receive incentive subsidies from the Ministry of Culture and Tourism for carrying out their exhibition tours and other related works.“The Land of Country Remade” selected representative works from the collection of CAFA Art Museum that reveals the innovation history of Chinese Painting in the 1950s and 1960s, and combed through the literature of discussion, exhibition articles and artworks that related to the reform of Chinese painting. In this both academic and artistic exhibition based on research, visitors can get a viewing experience as if walking through a history book. Edited | Editorial Department of CAFA Art Museum WebsitePhotography | Li Biao| The Exhibition Site |
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: Student Recruitment “A Poem of Great Ambition – Li Hu’s Artistic Path” • Research Workshop

2018-11-20

“A Poem of Great Ambition – Li Hu’s Artistic Path”Research WorkshopStudent RecruitmentTime: November and December 2018Venue: Multifunctional Room and 2B Gallery, CAFA Art Museum*See application process at the end of the articleResearch Workshop Introduction Li Hu was an important Chinese painter, art educator, and teacher of CAFA in Chinese modern art history. He integrated Chinese and Western painting techniques – Chinese brush and ink with Western skills – in the creation of Chinese painting and made unique achievements in landscape and portrait painting. Li Hu created a lot of outstanding works, including “Guangzhou Uprising”, “Indian Woman”, “Portrait of Guan Hanqing”, “Night Navigation on the Three Gorges”, etc.Li Hu, “Guangzhou Uprising”2019 is the centenary anniversary of Li Hu. In order to commemorate Li Hu and fully present his artistic outlook, CAFA Art Museum has planned a special exhibition “A Poem of Great Ambition – Li Hu’s Artistic Path”, which is to be displayed in the art museum from December 2018 to January 2019. This exhibition will present more than 100 pieces of representative works created by Li Hua in his lifetime. Curator Cao Qinghui has systematically sorted out the creative process and works of Li Hu at different periods, focusing on Li Hu’s contribution to the innovation creation of Chinese figure painting.Li Hu, “Self-portrait”The research workshop, held along with the exhibition, takes on the education function of CAFA Art Museum to encourage young students to participate in the scientific and research projects related to the exhibition theme by a new model. It attempts to make students have deep engagement with the exhibition and works using immersion programs throughout the exhibition period, so as to arouse and inspire the research interest of students on Li Hu and the modern transformation of modern Chinese painting from multiple perspectives.Research Workshop ContentThis workshop is free of Charge and is divided into three stages.Li Hu drawing the draft of “Night Navigation on the Three Gorges” in 1973The first stage contains four courses before the opening of the exhibition. The main content is to lead students to get familiar with and master the related literature of Li Hu. In this stage, Li Hu’s families, and scholars who have involved in his exhibitions and studies will be invited to teach the students. In the last session of the first part, participants will decide research directions and topics with the instruction of curator Cao Qinghui.Time: November 2018Venue: Multifunctional Room, CAFA Art MuseumLi Hu,“An Old Man in Red”The second stage has four courses after the opening of the exhibition, with its subject content to further understand Li Hu from different angles and confirm the research titles. In this stage, curators and scholars in the fields of art history and Chinese painting will be invited to direct students to analyze Li Hu’s works and contemporary art of his time from the point of art history, techniques and other angles. Before the courses of the second stage start, students should first submit their research topics according to their learning situation. In addition, during the exhibition, each student will complete an on-site audience tour to have a profound understanding of Li Hua and his works.Time: December 2018Venue: 2B Gallery and Multifunctional Room, CAFA Art MuseumLi Hu, “Sketch of A Plaster Figure”The third stage is for students to report their achievements before the end of the exhibition. Based on the course learning of the first two stages, students will present their study results in PPT and finish an essay before January 15, 2019. The excellent essay will be included in the publication of the same title as the exhibition.Time: January 2, 2019Venue: Multifunctional Room, CAFA Art MuseumThe Host of the Research WorkshopCao Qinghui(Curator of the exhibition)Liu Xiyan(Coordinator of the project)Instructors of the Research WorkshopWu Hongliang(Deputy Director of Beijing Fine Art Academy, Director of the Art Museum of Beijing Fine Art Academy, Curator of “A Retrospective Exhibition of Li Hu’s Excellent Paintings” at the Art Museum of Beijing Fine Art Academy in 2009)Deng Feng(Researcher of the National Art Museum of China, Curator of “Beautiful Expression by Pen and Ink: Exhibition of Li Hu’s Paintings” at Han Hai Contemporary Art Center in 2015)Liu Xilin(Renowned Chinese art historian)Jiang Caiping(Professor of the School of Chinese Painting of CAFA)Liao Qin(Lecturer of the School of Chinese Painting of CAFA)Li Yaochen(Director of the Collection Department of CAFA Art Museum)Li Rong(Li Hu’s daughter)Li Fan(Li Hu’s son)Li Yun(Li Hu’s daughter) Application RequirementsRecruitment of 10 students as plannedAcademic background of art history studies or Chinese painting creationRecent or graduated master and Ph.D. studentsPlease send your resume to 112337188@qq.com before November 18(Please include academic background, research direction and mobile number in the resume)
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CAFA Art Museum Publication Authorization Agreement

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

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.