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.

: Stay Tuned to Anish Kapoor’s First Double Solo Exhibition in China this Autumn

2019-05-21

As one of the world’s most influential artists, Anish Kapoor is invited to hold a double solo exhibition at CAFA Art Museum and the Imperial Ancestral Temple Art Museum in Beijing in Autumn 2019. This will be the first large-scale solo exhibition of this prestigious British artist in China.
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: CAFAM Lecture Info︱Time of Non-Reality

2019-05-21

Leonardo Art, Science and Technology Lecture SeriesTime of Non-Reality Speaker: George LegradyDate: 23.05.2019 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 The lecture “Time of Non-Reality” looks at the origin of the digital and the entanglements of the incorporeal, matter and noise. Furthermore it zooms into contemporary and ancient technologies in order to propose new hybrids of computing and magical thinking. The lecture alternates between theoretical excursion and practical examples of Ralf Baecker’s own artistic practice. About the Speaker Ralf Baecker is an artist working at the interface of art, science and technology. Through installations and machines, Baecker explores fundamental mechanisms of new media and technologies. In his representations and specializations of digital and technological processes he offers a poetic sight behind the surfaces of contemporary image making.Baecker has been awarded multiple prizes and grants for his artistic work, including the grand prize of the Japan Media Art Festival in 2017, an honorary mention at the Prix Ars Electronica in 2012 and 2014, the second prize at the VIDA 14.0 Art & Artificial Life Award in Madrid and the stipend of the Graduate School for the Arts from the University of the Arts in Berlin. His work has been presented in international festivals and exhibitions, such as the International Triennial of New Media Art 2014 in Beijing, Künstlerhaus Wien, ZKM in Karlsruhe, Martin-Gropius-Bau in Berlin, WINZAVOD Center for Contemporary Art in Moscow, Laboral Centro de Arte in Gijon, Centre de Cultura Contemporània de Barcelona (CCCB) and NTT InterCommunication Center in Tokyo.Since 2016 he teaches at the University of the Arts Bremen as Professor for Experimental Design of New Technologies. MIRAGE (2014)aluminium profile, custom electronics, muscle wires, line laser module, flux-gate magnetometerIRRATIONAL COMPUTING (2011)Silicon carbode, quarz, galena, rochelle salt, acylic glass, custom electronics
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Children’s Workshop | Spot the Differences in Virgin of the Rocks

2019-05-17

Time: May 19 (Sun) 14:00-16:00

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Child Public Education Reservation Form
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: Workshop丨Theories and History: Where Will Visual Art Go?

2019-05-16

Remapping Reality: Selected Video Collection from Wang Bing Visual Workshop Theories and History: Where Will Visual Art Go?2019.5.18 (Sat) 9:30-18:00Co-organized by New Century Art Foundation and CAFA Art Museum.Special thanks to OCAT Shanghai.Venue: Lecture Hall, CAFA Art MuseumIn the 1960s when video art was emerging, it was also the time of exploding theories, especially in the areas of French structuralism, post-structuralism and psychoanalysis. As an anti-mainstream yet mainstream discourse, it was of utter influence on both contemporary art critism, writing and artist practices. Theories of Foucault, Deleuze, Barthes and other thinkers used to direct us into contemporary visual art. In their eyes, image is a philosophical experiment, while their own writings are themselves a piece of image installation. However, in recent years, it seems that theories are fading out from contemporary visual art scene, or in other words, theories themselves are facing new crises and challenges. Meanwhile, archives, literature and historical anthropology have become the new source and language, or have transformed into a new theoretical discourse. This has become a phenomenon and problem for today's visual practices and visual art writing and critism. Although there have been quite a few researches and discussions on this issue, we would like to further the discussion by the chance of the Remapping Reality exhibition. Schedule 9:30-10:00 Presenter: Lu Mingjun (Associate Professor at Arts College of Sichuan University, Curator)Speeches: Wang Bing (Founder of New Century Art Foundation), Song Xiaoxia (Professor at School of Humanities, CAFA)Exhibition Introduction: Sun Dongdong (Curator) 10:00-12:00 Part I: Image and TheoriesPresenter: Song Xiaoxia (Professor at School of Humanities, CAFA)Guest: Li Yang (Professor at School of Art, Peking University), Yang Kailin (Professor at School of Fine Arts, Taipei University of the Arts), Wu Ming (Associate Professor at School of Communication, East China Normal University), Wang Huan (Art critic, Curator) 14:00-15:30 Special Projection and DialogueWorks: Wang Tuo, "Smoke and Fire" (2019), Hu Wei, "Proposal for Public Assembly/Encounter" (2019)Presenter: Yang Beichen (Lecturer at Central Academy of Drama, Editor at Art Forum China)15:45-18:00 Part II: Image and HistoryPresenter: Li Yang (Professor at School of Art, Peking University)Guests: Wang Min'an (Tsinghua University), Kao Jun-Honn (Artist, Parttime Professor at Taipei University of the Arts), Wu Yiqiang (Lecturer at Guangzhou Academy of Fine Arts), Wang Jianwei (Artist)
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: 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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Group Public Education Event Reservation Form

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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.