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 Techne Triennial 2020 | Topologies of the Real & Art in Motion Initiates ...

2019-11-04

CAFA Art Museum (CAFAM) will hold the large-scale media art exhibition "Topologies of the Real" from February 20 to March 29, together with ZKM's tour exhibition "Art in Motion: Masterpieces with and through Media", and initiated the first "CAFAM Techne Triennial". More

Chinese Museums are Having Creative Product Fever ...

2019-11-01

When the Kangxi, Yongzheng and Qianlong emperors of the Qing dynasty posed solemnly for a formal portrait painting, it perhaps never occurred to them that just in a few hundred years, such meticulously modeled image would be completely subverted into the new “Internet celebrity” amid the creative product consumption trend.The official writings of the Yongzheng Emperor were copied onto folding fans, which are one of the best-sellers of the Palace Museum's online store. The emperor's portrait was also photoshopped into an advertisement. Photo via the Palace Museum Taobao Store's Weibo account.According to a report released in August by the Institute of Cultural Economy at Tsinghua University and Tmall, an artm of e-commerce giant Alibaba Group, cultural and creative products from museums have become the latest favor of consumers. From 2017 to 2019, the sales of cultural products on Tmall alone increased by three times. Museums' stores on the platform reported an increase of six times during the period. In 2018, museums’ Tmall shops received 1.6 billion visits, 1.5 times the trips people made to brick-and-mortar museums across the country. Among the online visitors, about 100 million are born after 1990.It’s no doubt that the museum creative product fever has arrived in China. This reflects not only in the enthusiasm of leading Chinese museums, such as the Palace Museum and the Suzhou Museum, in development of a variety of creative products based on their unique intellectual property; but also the entering of many prestigious foreign museums, led by the British Museum and the V&A Museum, in China’s e-commerce platforms. The phenomenon shows a major transformation of the museums’ mindset, from reacting to visitors to initiating contact with the public. Museums seem to have found balance between solemnity and playfulness on the e-commerce platforms: They can sell both exquisite replicas of their feature collections, and products that feature cute cartoon history figures.Screen capture of the British Museum's Chinese e-storeYin Zhisong, Deputy Director of the Institute of Cultural Creativity Development at Tsinghua University, said that good creative products of museums are capable of transforming the essence of traditional culture, and allowing the public to get in touch with cultural heritage in their daily life. He is optimistic about the crossover cooperation between museums and the Internet companies: “Internet companies could help innovate museums’ historical and cultural background in more diverse perspectives, and museums could help enrich people’s digital life. Museums could thus attract more visitors, and provide them with more lively experience.”But there are also voices pointing out the gap between the cultural and creative industry in China and in western countries. For one thing, some consumers have complained that the assimilation of museums’ creative products could cause aesthetic fatigue. “Museums shouldn’t be satisfied about pleasing the public with cute products,” Yin acutely pointed out, “they should dig deeper into their cultural genes.” According to him, museums should set up intellectual property gallery based on extensive, academic research work, recreate stories based on history, think out of the box of “exhibition souvenirs”, and recruit professional designers to combine the museums’ cultural genes with people’s lifestyle, to design products that are more sustainable.Source | People’s Daily / China DailyAuthor | Yuan Shenggao / Zou YatingCompiled by Lu Yufan More

Lecture Info | Arata Isozaki: Third Space IKI+SHIMA ...

2019-10-29

CAFAa Lecture SeriesThe CAFAa Lecture Series was initiated by the CAFA School of Architecture in 2018. Based in the front of academic architecture, it invites prestigious scholars, educators, architects and artists to take part in a variety of activities including discussions, lectures and conferences, to jointly construct international architectural platform that is critical, comprehensive and open.Combination of keynote speech and relevant seminar is the highlight of this academic lecture series. CAFA has hosted Rem Koolhaas (Pritzker Architecture Prize Winner, Honorary Professor of School of Architecture at CAFA)'s "Recent Preoccupations" lecture and "Generic Village" seminar, Mosen Mostafavi (Former Dean of Graduate School of Design at Harvard University, Honorary Professor of School of Architecture at CAFA)'s "Architecture and Situation" lecture and "Post Bauhaus: Intellectuals, Architecture and Social Regeneration" seminar, Cao Xun (pretigious landscape architect, professor at Beijing University of Civil Engineering and Architecture, Special-term Professor of School of Archaeology and Museology at Peking University)'s three lectures “Chinese Art of Gardening”, "Chinese Landscape Masters" and "Gardening Master Zhang Nanyuan", and "Inheriting the Sage's Knowledge: Seminar on Cao Xun's Academic Thinking" seminar. On October 29, 2019, internationally prestigious architect, the 2019 Pritzker Architecture Prize Winner Arata Isozaki will give the fourth lecture of this academic series at CAFA - "Arata Isozaki: Third Space | IKI+SHIMA".CAFA invites Mr. Isozaki to be the keynote speaker, not only because he's this year's Pritzker Architecture Prize Winner, or because of his twenty-year friendship with CAFA, but because of his many key practices that has transcended traditional planning and architecture since the 1960s, his critical thinking brimmed with poetic charisma, and the unique characters of his time refracted in his thinking. Like the "Arata Isozaki: Third Space" Oita exhibition revealed, the uniqueness likes in the experimental works in terms of "information collection, art cooperation and installations", in the "intercrossing" cultural activities in fields like "art, design, music and theater", and in the idea practices in fields like "thinking, fine arts, design and cultural criticism". In this lecture, Mr. Isozaki will elaborate on his cross-cultural experience since 1960s in microscopic narrative, using his 2019 Oita exhibition as a thread, and the postcolonial theorist Homi K. Bhabha's "Third Space" concept as a theoretical frame, to bring us the cultural and thinking practices that way transcend architecture itself, and to review and refelct on the many architectural movements he has encountered, triggered, got involved or intervened. Meanwhile, we are also very honored to invite some important history theorist, practical architects, intellectual artists to gather in CAFA in this autumn, take part in three discussions themed "The Architectural Movements since 1960s", "Arata Isozaki and China" and "Arata Isozaki and Contemporary Art", and discuss the complexity and energy of the time in Arata Isozaki's architectural ideas, cross-cultural practices and art criticisms from various perspectives. The scholars will also take the Chinese modernistic context as a foundation, the global course of history as a vision, the contemporary issues as an entry point, their individual experience and diverse practices as angle, to discuss the dialectical relationship between architectural movements and their times in a multi-cultural context - it will be both a reflection of history and a projection into future.| About the Activity |CAFAa Lecture Series Ⅳ Lecture Arata Isozaki: Third Space | IKI+SHIMASpeakerArata Isozaki, internationally renowned architect and 2019 Pritzker Prize WinnerPresenterZhu Pei, professor and dean of School of Architecture at CAFATime2019.10.29  14:30-16:00PlaceCAFA Lecture Hall*The lecture does not require appointment. Seminar The Architectural Movements since 1960sPart 1: The Architectural Movements since 1960sPart 2: Arata Isozaki and ChinaPart 3: Arata Isozaki and Contemporary ArtPresenterZhu Pei, professor and dean of School of Architecture at CAFAParticipating ArchitectsZhang Yonghe, renowned artist, architecture educator, professor of School of Architecture at Tongji University, founder and chief architect of Atelier FCJZWang Mingxian, architecture and art history scholar at Chinese National Academy of Arts, expert at CAFA Visual Art Innovation InstituteLiu Jiakun, renowned architect, founder and chief architect of jiakun arc, expert at CAFA Visual Art Innovation InstituteShi Jian, renowned architecture critic, curator, partner of Archi PositionZhou Rong, renowned architecture critic, architecture scholar, associate professor of School of Architecture at Tsinghua University, expert at CAFA Visual Art Innovation InstituteZhang Li, professor and deputy dean of Tsinghua University, chief editor of World Architecture magazineZhang Lufeng, professor at Center of Architecture Research and Design at University of Chinese Acadey of SciencesLi Xinggang, chief architect at China Architecture Design & Research Group, chief executive of Li Xinggang Architecture StudioWang Hui, renowned architect, founder and chief architect of URBANUSTong Ming, renowned architect, professor of Department of Urban Planning at Tongji University, founder and chief architect of TM STUDIOHua Li, renowned architect, founder and chief architect of TAOParticipating ArtistsLiu Xiaodong, renowned artist and professor of School of Plastic Arts at CAFAZhang Zikang, director of CAFA Art MuseumQiu Ting, renowned artist, professor and dean of Department of Landscape, School of Chinese Painting, CAFATime2019.10.29 16:15-17:45PlaceCAFA Lecture Hall| About the Speaker |Arata IsozakiBorn 1931 in Oita City, Japan. In 1954 graduated from the Department of Architecture in the Faculty of Engineering at the University of Tokyo. In 1963 established Arata Isozaki & Associates, the base from which he has continued to work ever since. From his 1960s work such as Oita Prfectural Library, to his 1990s work in locations such as far afield as Barcelona, Orlando, Krakow, Nagi in Okayama Prfecture, Kyoto, Nara and Berlin, to his 21st century work in the Middle East, China, Central Asia and elsewhere, Isozaki has created an architecture so personal in its ideas and spaces that it defies characterization in any single school of thought.Academic PresenterFan Di'an, Lv Pinjing, Zhu PeiKey PlannersZhu Pei, Han Tao, Wang Zigeng, Hou Xiaolei, Liu Yanchen, Huang Liangfu, Liu Siyong, Zhang QianPoster DesignersWang Zigeng, Gong YiOrganizerCAFA School of ArchitectureCo-organizersCAFA Visual Art Innovation InstituteCAFA Art MuseumCAFA Art Info More

Lecture Info | Media Art and Injury - Arne De Boever ...

2019-10-28

Leonardo Art, Science and Technology Lecture Series 2019The series is part of the "Media Art Master Class" of CAFA Center for Art and TechnologyMedia Art and InjurySpeaker: Arne De BoeverTime: 2019.10.31(Thu), 18:30-20:00Language: English (with Chinese translation)Place: CAFA Lecture HallCo-organized by: CAFA Visual Art Innovation Institute, CAFA Center for Art and Technology, CAFA Art Museum, Chronus Art CenterIn collaboration with Leonardo / ISAST | About the Lecture | During the 2018 Sotheby Auction, Banksy's Girl with Balloon self-destructed out of blue. Based on this incident, a new media artwork - Love is in the Bin - appeared. The lecture will begin with what writer Ben Lerner stated: "Much of the story of twentieth-century art can be told as a series of acts of vandalism", and examine Banksy's art based on this statement. It is especially interesting considering Lerner's other discussions on realism. The lecture will pay special attention to the media art's near-perfect rendering and depiction of reality via technologies. Like what Lerner commented about Christian Marclay's The Clock, it is a 24-hour clock imagery made out of video editing. The way it works also simulates a clock. Lerner believes The Clock to be failure, instead of an achievement, of realism. From this perspective, it is an unexceptional artwork: A work that cannot reach its ideal but still keeps its posture. The lecture will be based on Tobin Siebers' "Disability Aesthetics", and discuss the aforementioned, significant failures in terms of media art theories. It will also dig into the water-related creative practice of artist Song Dong, to develop an appeal in regard of unexceptional art: an art form that challenges the exceptionalist perspective of the western aesthetics. | About the Speaker | Arne De Boever teaches American Studies in the School of Critical Studies and the MA Aesthetics and Politics program at the California Institute of the Arts (USA). De Boever has published numerous articles, translations, and reviews and is the author of States of Exception in the Contemporary Novel (Continuum, 2012), Narrative Care (Bloomsbury, 2013), Plastic Sovereignties (Edinburgh, 2016), Finance Fictions (Fordham, 2018), and Against Aesthetic Exceptionalism (Minnesota, 2019). He is the editor or co-editor of Gilbert Simondon (Edinburgh, 2012), The Psychopathologies of Cognitive Capitalism: Part 1 (Archive Books, 2013), and Bernard Stiegler (Duke, 2017). De Boever is also active as the editor of the Philosophy/ Critical Theory genre section of the Los Angeles Review of Books and as a member of the boundary 2 editorial collective.Narrative Care: Biopolitics and the Novel (2014)Bloomsbury AcademyStates of Exception in the Contemporary Novel (2012)Against Aesthetic Exceptionalism (2019)University of Minnesota Press More

Fan Di’an: Welcome to Explore the Secret Echoes of the Spirit of Anish Kapoor’s Art | Exhibition is Open to the Public on October 26 ...

2019-10-22

 Anish Kapoor solo exhibition in China  CAFA Art Museum & Taimiao Art Museum   CAFA Art Museum  2019/10/26 - 2020/1/1 Taimiao Art Museum 2019/11/11 - 12/28Mr. Anish Kapoor is a representative of contemporary Western art and also a renowned artist in the international contemporary art world. His works have been highlighted frequently in international art exhibitions, particularly those large-scale works towering in the urban public spaces, exerting a significant influence as a trans-century wonder of art. In Autumn 2019, his first large-scale retrospective art exhibition in China will be held simultaneously at CAFA Art Museum and the Taimiao Art Museum, which could be regarded as a spectacular journey of Kapoor’s art in China.Anish Kapoor, DestierroEarth, pigment and mechanical diggerDimensions variable©Anish Kapoor, 2019In the changing trend of Western art and culture at the end of 20th century, Kapoor’s art emerged with its ideas and forms showing both individuality and publicity. The interlacing of his rigorous thinking, mysterious fantasy and free imagination render his art beyond previous patterns, bursting out a luster of fresh perceptions, and becoming a cultural representation with multiple implications and abundant energy. Kapoor’s creation is rooted in ancient Indian philosophy. He integrates the spiritual core of Eastern culture with the modern symbolism of Western culture and establishes a unique relationship between material media and cultural metaphor, self-sufficient pattern and ecological environment. He advocates that color is baptism and belief, space is mind and soul, and material is in spiritual possession, which makes his works invite mysterious and powerful resonance force in the binary compound languages such as the material and immaterial, existence and transcendence, essence and extension. In the 1980s, Kapoor had become one of the representative artists of the “New British Sculpture”, and won the “Turner Prize” that manifests the spirit of western innovation and exploration. As his ideas correspond to and reflect the new cultural reality and cultural psychological signs in the global context, his art is widely accepted globally, resulting in a broad influence in cross-cultural communications.Anish Kapoor, Symphony for a Beloved Sun, 2013Stainless steel, wax, conveyer beltsPhoto credit: Dave Morgan ©Anish Kapoor, 2019The capability of the artists lies in the realization of a complex concept into a simple visual form and the application of the pure visual form in prompting the metaphysical implication. Kapoor is a master in grasping the relationship between purity and polysemy. He is good at using the space where the works are placed to create the site of generation of the works, producing illusive impressions and offering viewers with immersive perceptions. Some of the language signs belong to his specialities, such as the applying of red - a symbol of life origin, the powder that embodies the idea of “emptiness” and the “descension” that looks like a whirlpool, a cavern or a blackhole. The material and form he’s best at is his installation work of stainless-steel structure. This kind of works are extremely pure, always featuring a curved surface, thus making the bright and clean surface not only a shiny object itself but also a carrier of the surrounding landscape, while the phenomenon of refraction and reflection leads to a series of conversion from “ordinary” to “extraordinary”, producing a stunning “mirror image”.Anish Kapoor, Cloud Gate, 2001-2004Stainless steel25 x 15 x 12mMillennium Park, Chicago©Anish Kapoor, 2019Anish Kapoor, Non-Object (Spire), 2007Stainless steel302.3 x 300 x 300cmPhoto credit: Tim Mitchell©Anish Kapoor, 2019Anish Kapoor, C-Curve, 2007Stainless steel2.2m x 7.7m x 3mPhoto credit: Dave Morgan©Anish Kapoor, 2019Sky Mirror, 2006Stainless steelDiameter: 10 mPhoto credit: Tim Mitchell©Anish Kapoor, 2019Tsunami, 2018Stainless steelPhoto credit: Dave Morgan©Anish Kapoor, 2019Mr. Kapoor attaches great importance to the journey of his art in China, and planned and prepared for the show together with my colleagues, who are the show’s host. We both hope that the exhibition could academically present Kapoor’s main artistic achievements to date, and also build a site for direct experience of his large-scale works. Contemporary Chinese art, while basing itself on domestic innovation and development, still needs to keep an eye on the world, carry out extensive exchanges and form a profound cultural dialogue. Kapoor’s art is so intelligently responsive to the complexity of today’s world, and so wonderfully makes spectators perceive the metaphysical secret echoes of its spirit. This Autumn, in response to Kapoor’s wish to “invite people to explore”, let’s immerse ourselves in his grand art scene and have a free discussion.Fan Di’anDirector of Central Academy of Fine ArtsPresident of Chinese Artists AssociationOctober 2019Anish Kapoor, Sectional Body preparing for Monadic Singularity, 2015PVC and steel730 x 730 x 730 cmPhoto credit: Tadzio©Anish Kapoor, 2019Anish Kapoor, My Red Homeland, 2003Wax and oil-based paint, steel arm and motorDiameter: 12 m©Anish Kapoor, 2019Anish Kapoor, To Reflect an Intimate Part of the Red, 1981Mixed materials, color powder200 x 800 x 800cmPhoto credit: Andrew Penketh©Anish Kapoor, 2019 About the Exhibition Academic Consultant: Fan Di'an Artistic Director: Su Xinping Curatorial Advisor: Hans Ulrich ObristChief Curator: Zhang Zikang Curators: Wang Chunchen Yue Jieqiong Organizers: Central Academy of Fine Arts, Beijing Municipal Federation Trade Unions Co-Organizers: CAFA Art Museum, Taimiao Art Museum Chief Supporting Organization: Zhonghong Chuangyi (Beijing) Culture Development Co, Ltd.Supporting Organizations: Lisson Gallery, Galleria Continua and the British Council CAFA Art Museum | Time | 2019/10/25 - 2020/1/1Open to the public on 10/26| Opening Hours |Tuesday to Sunday 9:30-17:30(Last admission 17:00)/ Closed on Monday Taimiao Art Museum | Time | 2019/11/11-12/28| Opening Hours |9:00-17:00 daily(Last ticket purchase 16:30) Ticketing Information *  All kinds of ticket can be used throughout the exhibition starting 10/26.Scan the QR code to purchase ticketEarly-bird Ticket:90 yuan(Available from 2019/10/10-10/25)Adult ticket: 120 yuanDiscount ticket: 60 yuan(Please refer to discount ticket use policy below for eligibility)Family ticket: 260 yuan(2 adults and 1 child above 120 cm)*Group ticket: Groups of 10 or more may enjoy 20% discount off original price.Visitors with union membership card may enjoy 20% discount off original price.(Group ticket only available at the CAFAM front desk)For inquiries please call: 010-64771575 | Notes | * The ticket of Anish Kapoor exhibition at CAFA Art Museum is 120 yuan. Visitors with union membership card may enjoy 20% discount off original price, and visit the Anish Kapoor exhibition at the Taimiao Art Museum for free. Visitors to Taimiao without card could buy the bell exhibition ticket for 15 yuan, and enjoy the Anish Kapoor exhibition for free. The east and west side halls of Xiang Dian are open for free. Visitors may enter with 2-yuan palace ticket.* Teachers and students of CAFA, children under 120cm (adult company is required, and the adult needs to purchase ticket), elderlies above 60, military service men and disabled people may visit the exhibition for free.* Students above 120cm (graduates students included), visitors with CAFA Alumni Card, CAFAM VIP Card, CAFAM Membership Card and Museum Association Membership Card, museum employees may purchase discount ticket.Note: Free ticket and discount ticket can be purchased and verified upon showing credentials. CAFAM reserves the right for final explanation. More

Lecture Info | Dromological Imaginations: Virilio, Technology, Art and the Postdigital ...

2019-10-22

Leonardo Art, Science and Technology Lecture SeriesDromological Imaginations: Virilio, Technology, Art and the PostdigitalSpeaker: Ryan BishopDate: 10.24.2019 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 Paul Virilio’s major contribution to contemporary European thought has been to demonstrate that questions of visual culture are not only academic and cultural, aesthetic, historical, critical, philosophical, and anthropological questions but also extremely important questions of societal formation and governance. For Virilio, visual culture does not simply provide ways to understand the visual or examine images; it offers primarily a critical site of theory and contemporary cultural action and intervention, where relations of power in this field of study are both established in everything from film studies and psychoanalytic theory to gender studies, queer theory, television and video game studies, comics, the traditional artistic media of painting, advertising, and the Internet, and potentially disturbed. Virilio’s initial ways into these areas of power relations that constitute the visual cultural scene and its usual analytic topics are odd and oblique, which provide them their intellectual purchase, emerging as they do from his work as an urbanist interested in technology, speed and the military. These larger forces, according to Virilio, are the primary influences on and shapers of visual culture with the standard areas of inquiry being mere effects of them.  This talk will work with some of Virilio’s most evocative theoretical formulations, including dromology, the aesthetics of disappearance, the accident (of art, of technology, the global), and picnolepsy and will do so through an examination of specific artworks by Trevor Paglen, Susan Schuppli, Heba Amin, Victor Burgin and others to get a sense of the Post-Digital as it pertains to art, technology and theory. The Post-Digital is a way of theorising and contextualising the digital as an historically specific phenomenon. Just as postmodernity addressed modernity in a critical and historical manner, the Post-Digital intends a critical and temporal engagement with the digital while remaining partly defined by it. For Virilio the temporal and technological specificity is primary import: he is interested in why images/cinema in World War I, for instance, look as they do and how technological mediations of the 21st century operate as they do and to what effects. Virilio returns consistently to visual culture as a site of contestation manifesting the larger concerns of urbanization, technology, militarization and speed as inextricably intertwined phenomena.  About the Speaker Ryan Bishop is Professor of Global Art and Politics at the Winchester School of Art, University of Southampton (UK), where he co-directs the Archaeologies of Media and Technology research group with Jussi Parikka. He is the author or editor of 15 books, including Technocrats of the Imagination: Art, Technology and the Military-Industrial Avant-Garde (with John Beck, Duke UP, 2020), Seeing Degree Zero: Barthes/Burgin and Political Aesthetics (with Sunil Manghani, Edinburgh UP, 2019),  Across and Beyond: A transmediale Reader on Post-digital Practices, Concepts and Institutions (with Kristoffer Gansing, Jussi Parikka and Eliva Wilk, Sternberg Press, 2017) Cold War Legacies: Systems, Theory, Aesthetics (with John Beck, Edinburgh UP, 2016), and the author of over 50 journal articles. He edits two book series “a Cultural Politics Book" (Duke UP) and “Technicities (Edinburgh UP), as well as the journal Cultural Politics (with John Armitage and Douglas Kellner, Duke UP). In addition is a commissioning editor for the journal Theory Culture & Society (Sage) and serves on its editorial board. He also published two books in Chinese: A Cultural Politics Reader (co-edited with John Armitage and Doug Kellner) Beijing: Commercial Press (in Chinese, You Jianrong trans.. pp.368) (2018)and Baudrillard Now: Current Perspectives in Baudrillard Studies,  Kaifeng: Henan University Press, 2008 (revised and expanded in English Cambridge: Polity Press 2009).  《Modernist Avant-Garde Aesthetics and Contemporary Military Technology: Technicities of Perception》(2011)Ryan Bishop, John Phillips《Cold War Legacies: Systems, Theory, Aesthetics》(2016)Edited by John Beck, Ryan Bishop《Seeing Degree Zero: Barthes/Burgin and Political Aesthetics》(2019)Edited by Ryan Bishop, Sunil Manghani More

Unpacking 263,000 visitor photos at the Royal Ontario Museum ...

2019-10-21

Since 2012, the Royal Ontario Museum (ROM) in Canada has been displaying visual user generated content (UGC) in the museum, encouraging people to take and share photos of the museum at their special event, Friday Night Live. While text-based Twitter walls were common at events, it was not the case with photo-based walls. As a result, the museum’s attendance has increased by 10-20% year over year since 2012. It proved that people enjoyed making interactions with their own devices rather than taking part in other more complicated activities.Upon realizing that leveraging UGC and their visitors’ networks to tell the story of what it is like to visit the museum could catalyze purchasing and visiting decisions, the ROM made the photo wall a permanent display, placed a gallery of UGC on their homepage for potential visitors, and even changed their photography policy, allowing photography to happen both in permanent galleries and special exhibitions. For the first time ever, people could see the visiting experience from the visitors’ perspective, instead of the museum’s. What’s more, the UGC photo wall is both cost-effective and democratic, in a way that it’s much less expensive than museum apps and complies better with visitors’ original habits.Photo by @joshuabestFrom 2014 to January 2018, the ROM aggregated 263,693 photos shared by its visitors. In order to understand what the visitors are sharing, so as to allow the museum to be smarter about the digital engagement programs and think deeper about the connection between the physical and digital visit, the museum’s digital engagement strategists Ryan Dodge and Jacqueline Waters used the Google Cloud Vision API, to classify the images and automatically attach tags or keywords to each photo. The API generated 2.5 million tags, with some photos having up to more than 30 tags. After weeks or organizing and digging in, they eventually found some patterns of the images, explaining what visitors like to photograph in the museum:ArchitectureThis theme looks obvious to the researchers, as the museum is very photogenic itself. 51% of the photos have one of the tags in the graph below.PeopleTo the researchers’ surprise, there are not many photos of children even though the majority of the visitors visit in group. 27% of the photos have a tag connected to the tags in the graph below.PhotographyMuseums are full of opportunities for amazing photos and for the visitors to create art, and it’s no wonder that 38% of the photos have an artistic tag. The museum is proud of the natural light in many galleries, and the way that sunlight dances on the museum, so it makes the researcher glad to see the tag of “light” in the UGC collection. To their surprise, only 8,647 photos, which is 3.3% of the collection, were tagged with selfie.ArtifactsMuseums are naturally a good place for people to perform their nature to collect. 78% of the photos were tagged with a term relating to an object on display in the museum. Taking photos of artifacts in a museum is how some people engage today, so that they can share them online and with their friends and family to talk about their experience, save memories and collect things that interest them.Dinosaurs10% of the photos had Dinosaurs tags attached with them. It’s expectable because they are big, can’t be seen everyday, and are something interesting to talk about after visit.Photo by @jkakisSource | Museum-iDAuthor | Ryan Dodge, Digital Engagement, Royal Ontario MuseumEditor | Lu Yufan More

Gu Yuan Art Exhibition Opens on October 16 ...

2019-10-16

Gu Yuan (1919-1996) is a famous artist Chinese artist and art educator. He was the director of the Central Academy of Fine Arts, deputy president of the China Artists Association, and deputy president of the China Printmaking Artists Association. In his art life that lasted for nearly half a century, Mr. Gu’s works clearly reflected his time, and sang praise of the modern Chinese printmaking development and New China’s art blossoming.In 1938, Mr. Gu Yuan left Guangzhou for Yan’an amid the flame of the War of Resistance against Japanese Aggression, with full-hearted enthusiasm for revolution and art. Using paint brush and burin, he rendered the heroic stories of Chinese soldiers and people’s fight against invasion. In 1939, he completed his first wood-engraving work, Marching of the Guerilla Force. He then began his creative practice under the oil lamp in the cave dwelling. He stuck to his position in northern Shaanxi Province, rooting his art creation deeply in the soil of the working people. He lived among and learnt from the working people, absorbing the truest nutrition. During his time at the Luxun Academy of Fine Arts, he created a great number of popular wood-engraving works, including “Chopping Grass”, “Studying in Winter”, “Suing for Divorce” and “Brother’s Vacation”. These works have become classic works of modern Chinese printmaking history today, and opened up a new chapter for Chinese modern printmaking. In 1942, after visiting the National Wood Engraving Exhibition, Xu Beihong wrote passionately: “I discovered a genius in the Chinese art circle, that is the big master Gu Yuan of the Chinese Communist Party.”After New China was founded, Gu Yuan rendered the magnificent natural landscape of China, the spiritual life of the people and the new look of China with broad vision, lyric touch and modest artistic language. He created a new visual form of New China, delivered a new aesthetic value, and became an important icon of the visual language of New China. The combination of reality, nationality and lyricism characteristic of his work has great influence on future generations. He is an outstanding realistic art master of the 20th century.The exhibition is titled after the title of Mr. Gu Yuan’s first exhibition in 1980s, which is handwritten by himself. In the 108 traditional style newspaper billboards, over 300 of Mr. Gu’s works are presented. The gallery’s theme color, Yan’an red, conveys Mr. Gu's modest and easy-going disposition, and brings the audience to his time. The curation tries to present the interactive relationship between the artist’s creation and the society, bringing the audience closer to “Gu Yuan” while inspiring their reflection on today's artistic development. Like Xu Bing wrote in his article Understand Gu Yuan: Do we have the clear concept and goal as what Gu Yuan and his generation did in their time? Do we have their sincerity for art?Mr. Gu Yuan's Former ResidenceMr. Gu Yuan's Former ResidenceSupport: China Federation of Literary and Art CirclesPresenter: Central Academy of Fine Arts|China Artists AssociationCo-presenter: Gu Yuan Museum of Art|Hunan Fine Arts Publishing HouseOrganizer: CAFA Party Committee | CAFA Art Museum | Department of Printmaking, School of Plastic Arts, CAFATime: 2019/10/16-11/26Place: Gallery 2B, CAFA Art Museum More

MoMA Reboots after $450 Expansion: Will the New Space Sparkle New Imagination? ...

2019-10-12

The Museum of Modern Art reopens on Oct. 21 after a $450-million, 47,000-square-foot expansion. With a Diller, Scofidio + Renfro /Gensler extension added to the 2004 building designed by Yoshio Taniguchi, the MoMA will be a mammoth complex that’s nearly blocklong.From 1939 till today, the art museum on the 53rd Street has gone through six revamps. The re-opening of MoMA once again triggered discussions among critics in terms of the “grow or die” museum mentality, which was prevalent in the 1990s and 2000s.The remodeled 53rd Street main entrance to the Museum of Modern Art with the new canopy, and buildings to the west. Credit Winnie Au for The New York TimesCritic Holland Cotter believes that judging from the art fairs, more art is not more, yet agile planning and alert seeing can be a game changer. According to him, the expanded MoMA is making obvious efforts to reshape its “Modernism Plus” image without going entirely off-brand - a further breakthrough from its “white, male and nationalist” obsolete history, with art from Africa, Asia, South America and African America and more women artists added.To go into details, the art history outline that MoMA is famous for, the “ironclad view of Modern art as a succession of marquee ‘isms’ (Cubism, Surrealism, Abstract Expressionism, etc.)”, is still in place in the collection galleries. But there are now more unexpected inclusions and theme-based detours along the main route. Cotter also hailed the new building’s mechanics for development, as the new MoMA calls for regular rotation of the collection - a third of the galleries on the second, fourth and fifth floors will be reinstalled every six months, and the new composition of artworks, especially in a museum with increasingly diversified collections and curatorial staff from increasingly diversified backgrounds, will sparkle new thinking.The new acoustic space at MoMA with “Rainforest V,” a sonic sculpture by David Tudor and Composers Inside Electronics Inc. Credit Winnie Au for The New York TimesHowever, what Cotter finds a promising expansion is “one of those classic, ruthless New York real estate tales” in critic Michael Kimmelman’s eyes. The new canopy that cantilevers over the 53rd Street sidewalk, the raised ceiling of Mr. Taniguchi’s lobby on the south side, the gift shop moved to the basement that now allows unobstructed views toward the new West Wing, even the “Hello. Again.” painted on the white wall in the lobby, a 2013 work by Haim Steinbach, were all sharply compared by Kimmelman to “an Apple store“.The new lobby at MoMA features “hello again,” a 2013 work by Haim Steinbach. Credit Haim Steinbach and Tanya Bonakdar Gallery. Winnie Au for The New York TimesHe mourned the marginalization of the garden, which is “the historical heart of MoMA” that helped make the place feel friendlier, and the fact that MoMA is no longer what its former director Richard Oldenburg described - “a place where you can see the whole development of the modern movement, but which you feel you can still capture, at least remotely, on a single visit”. Instead of doubling down on Midtown Manhattan, Kimmelman said he was expecting MoMA to venture further to Brooklyn or Queens or the West Side. While New York is multi-centered now, by doing so MoMA could have altered the city’s cultural weather. However, Mr. Kimmelman does acknowledge that the multiple entry points that pepper the circuit of permanent collection galleries reflect the time when the story of modern art is no longer told as a linear sequence of -isms, and more diverse histories of modernism can be discovered in the new space.Source | The New York TimesEdited by Lu Yufan based on MoMA Reboots With ‘Modernism Plus’ by Holland Cotter and With a $450 Million Expansion, MoMA Is Bigger. Is That Better? By Michael Kimmelman More

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

2019-10-12

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

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Group Visit Agreement
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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

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

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

CAFA Art Museum Event Safety Disclaimer

Article I

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

Article II

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

Article III

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

Article IV

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

Article V

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

Article VI

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

CAFA Art Museum Portraiture Rights Licensing Agreement

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

I. General Provisions

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

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

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

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

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

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

(3) Geographical Scope of Use

The applicable geographic scope is global.

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

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

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

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

Additional Terms

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

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

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

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

I have carefully read and agree to the above provisions.

Event Booking Form

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

Reminder:

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