Exhibitions and Events-News

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

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. More

CAFAM讲座预告︱《最后的晚餐》中的技法和秘密 ...

2019-05-05

讲座主题:《最后的晚餐》中的技法和秘密时间: 5月7日18:30 -20:30地点:中央美术学院美术馆学术报告厅Conferenza: I segreti dell'ultima cena7 maggio h18:30 – 20:30讲者:马里奥·塔代伊Speaker:Dott. Mario Taddei【关于讲座】最后的晚餐,一出虚拟剧。我们都熟知列奥纳多的一幅最著名的画作:最后的晚餐。然而,今天由感恩圣母堂光秃秃惨淡的墙壁围绕的这幅宽8.8米、高4.6米的长方形壁画已经没有了列奥纳多业已失传的杰作的任何元素。恰恰因为它是一幅画,而不是湿壁画,它绘成伊始便开始受损。甚至远在1880年时,面对这幅重新绘制、并为了保护画面而多次覆盖固色剂的作品时,博斯便将它描述为“一个曾经存在的东西的幽灵”。今天,在列奥纳多逝世五百周年之际,基于一个长期的研究及对虚拟现实的使用,列奥纳多于1497年完成的这出剧作得以辉煌再现。在位于米兰斯卡拉广场的列奥纳多3博物馆中,观众可以戴上一个虚拟头盔,用一个“时间机器”在圣母堂餐室中自在地踱步,听任这台机器将我们带回到列奥纳多完成作品的一刻。列奥纳多不仅用鲜艳的色彩及已经失传的不可思议的细节绘制了这幅巨作,他还绘制了上方的半月形、左右两壁,尤其是现在令人忧伤的灰色天花板,那时可能是一片蓝色,点缀有金色的星星,它们在射入左侧窗户的光线中熠熠生辉。列奥纳多创作了一出引人入胜的戏剧,而不是一幅简单的平面画。在餐室就餐的修士使用列奥纳多彩绘的餐桌,彩绘以当时米兰斯福尔扎家族执政时期为背景,修士们吃的恰恰是列奥纳多画在桌上的食品。在这幅作品的多媒体复制中各种栩栩如生的趣事中,可以发现盘子是“上色的”,也就是说,它们反射了就近的衣服的颜色,由此推测,盘子应该是白镴制的,和十六世纪米兰使用的盘子一样。经过长期的研究,并根据史料、列奥纳多本人的素描及当时便存在的最早的临摹进行复原,我们得以重塑一种确实是源自想象的假设,但它同时又生动鲜活、引人入胜和令人沉醉地再现了列奥纳多的时代。画中的壁毯可以延续到餐室墙上,营造出一个真实的世界,它与列奥纳多创造的真正的虚拟世界混为一体。我相信,以这个宏大和引人入胜的三维戏剧作品,并借助透视的假象,列奥纳多发明了我们今天称之为虚拟现实的作品。对画作的分析也揭示了列奥纳多的失误:他采用的透视更适合一个身高4米的人观看,画中桌子和人物比实际尺寸大出两倍,甚至桌子两头的使徒都不该待在那个地方,因为桌长和餐室的宽度恰好相等。但这些透视和几何上的“失误”是列奥纳多故意为之,在他成为大师后,他可以允许自己打破规则,以便创作一幅比他在佛罗伦萨看到的作品更好的作品。进入餐室后,我们感觉自己成为了一个人造世界的参与者和见证者,进入了列奥纳多描绘的历史场景中,他并非真正的信教者,他甚至没有画上传统的光环,而是将使徒、尤其是耶稣降为了普通人。不像多年来有人企图灌输的那样,画中既没有圣杯和光环,也没有其他怪物、或神秘的含义、或画中隐藏的物品。我坚信,列奥纳多想要表现的耶稣和使徒是和我们一样的常人,也许这个信息比之传统的信息更为强大有力。在他富有创新性的三维绘画表现中,他创作了世上第一个浸入式虚拟现实的作品。Tutti conosciamo uno dei più famosi dipinti di Leonardo, l'Ultima Cena. Ma quel rettangolo di 8,8 metri di larghezza alto 4,6 metri che oggi si trova circondato da mura spoglie e tristi a Santa Maria delle Grazie non ha ormai più nulla del capolavoro ormai perduto di Leonardo. Proprio perché era un dipinto e non un affresco cominciò a deteriorarsi fin da subito e persino nel 1880 il Bossi, di fronte ad un dipinto ri-dipinto e ricoperto da fissativi più volte nel tentativo di salvarlo, lo descriveva come "una larva di quel che era". Oggi dopo 500 anni dalla mortedi Leonardo lo spettacolo che Leonardo realizzò nel 1497 rinasce in tutto il suo splendore grazie ad un lungo lavoro di ricerca e all'utilizzo della realtà Virtuale. Nel museo Leonardo3 in Piazza Scala a Milano si può indossare un casco virtuale e ci si può muovere liberamente nel refettorio con una "macchina del tempo" che ci riporta nel momento in cui Leonardo aveva finito la sua opera. Leonardo non realizzò solo il dipinto con colori vivi edettagli incredibili ormai perduti ma dipinse anche le lunette superiori, le pareti e soprattutto quello che oggi è un soffitto tristemente grigio un tempo probabilmente era uno spettacolo azzurro con stelle dorate che brillavano con la luce proveniente dalle finestre sulla sinistra. Leonardo realizzò uno spettacolo avvolgente non un semplice dipinto piatto. I frati che in quel luogo avevano il refettorio mangiavano sugli stessi tavoli che Leonardo dipinse e poiché il dipinto è ambientato nell'epoca storica milanese degli sforza, li si mangiava proprio quello che Leonardo ha dipinto sul tavolo. Tra le curiosità che rivivono nelle postazioni multimediali dedicate a questo lavoro si può scoprire come i piatti siano “colorati” nel senso che riflettono il colore del vestito che è vicino, se ne deduce che i piatti dovevano essere di peltro proprio come nella Milano del 1500.Dopo lunghe ricerche e ricostruzioni basate sui documenti storici, gli stessi disegni di Leonardo e sopratutto le prime copie coeve si è potuto ricostruire un‘ipotesi sì fantastica, ma viva, avvolgente ed affascinante come era al tempo di Leonardo. Gli stessi arazzi presenti nel dipinto potevano continuare nella sala creando un mondo reale che si confondeva con un vero proprio mondo virtuale creato da Leonardo.Sono convinto che con questa maestosa opera teatrale, avvolgente e tridimensionale, aiutata dall'inganno della prospettiva Leonardo ha inventato quella che noi oggi definiamo realtà virtuale. L'analisi del dipinto ha portato alla luce anche gli errori di Leonardo: la prospettiva è ideale per un uomo alto quattro metri ed il tavolo ed i personaggi sono due volte più grandi di quanto dovrebbero essere, addirittura gli apostoli agli estremi del tavolo non potrebbero neanche stare in quel posto perché le dimensioni del tavolo sono esattamente quelle della larghezza della stanza. Questi “errori” di prospettiva e di geometria sono però voluti da Leonardo che solo dopo essere diventato un maestro si è potuto permettere di stravolgere le regole per realizzare un opera migliore di quelle che aveva visto a Firenze. Entrando nella sala ci si sentiva partecipi e presenti in un mondo artificiale, si entrava nella scena storica rappresentata da Leonardo, che non propriamente un uomo di religione si era permesso addirittura di eliminare le tradizionali aureole, declassando così gli apostoli e soprattutto Gesù ad un semplice essere umano. Non c'è il santo graal non ci sono le aureole, e neanche altri mostri o misteriosi significati od oggetti nascosti nel dipinto come da anni moti ci vogliono far credere. Sono convinto che Leonardo abbia voluto rappresentare Gesù e gli apostoli come persone uguali a tutti noi e forse questo è un messaggio addirittura più potente di quello tradizionale. E nella sua innovativa rappresentazione pittorica tridimensionale abbia creato la prima opera di realtà virtuale immersiva. 【讲者介绍】马里奥·塔代伊马里奥·塔代伊毕业于工业设计专业,曾在米兰理工大学执教至2003年。他主要投身于通过研究和开发互动多媒体项目来进行寓教于乐的科学传播。很长时间以来,他投入对于列奥纳多·达·芬奇的学习和研究,成为国际上最大的专家之一。他对于列奥纳多构思的各种机械的研究论文引起了很大的国际反响。作为列奥纳多3研究中心的共同发起人,他现在是位于米兰斯卡拉广场的列奥纳多3博物馆的策展人和科技总监。他设计和制作了浸入式虚拟现实的全套系统。他在世界多个国家发表了教学、科技和科普著作,举办讲座和专题课,在国际研讨会及学术大会上进行学术演讲。多年来,他策划的展览、展示及装置在意大利和国外(德国、美国、加拿大、墨西哥、巴西、卡塔尔、日本)均获得了巨大的成功。 Dott. Mario TaddeiLaureato in design industriale, ha insegnato al Politecnico di Milano fino al 2003. Ha dedicato gran parte della sua attività allo studio e allo sviluppo di prodotti multimediali interattivi per la divulgazione della scienza a carattere di edutainment. Si occupa da tempo dello studio e della ricerca riguardante Leonardo da Vinci, diventandone a livello internazionale uno dei maggiori esperti. Ha firmato alcune scoperte e ricerche di risonanza mondiale riguardanti le macchine di Leonardo. Socio fondatore del centro studi Leonardo3, e' curatore del museo Leonardo3 in piazza Scala Milano. Direttore scientifico tecnico. Progetta e realizza sistemi completi di Realtà Virtuale immersiva.Autore di numerosi libri didattici, scientifici e divulgativi, pubblicati in diversi paesi del mondo, tiene conferenze, lectio magistralis e presentazioni in simposi e convegni internazionali. Le sue mostre, esibizioni e installazioni sono state nel corso degli anni presentate con enorme successo sia in Italia che all‘estero (Germania, USA, Canada, Messico, Brasile, Qatar, Giappone).【系列讲座】 4月15日 18:30 – 中央美术学院美术馆讲座:《达•芬奇与解剖学》16 aprile h19:00 –CAFAM“Leonardo e l’anatomia”4月15日18:30 - 意大利驻华使馆文化中心讲座:《创新者达•芬奇:文艺复兴时期科技的象征》15 aprile h18:30-Istituto Italiano di Cultura di Pechino“Leonardo innovatore e simbolo del rinascimento scientifico e tecnologico”4月16日 19:00 - 意大利驻华使馆文化中心讲座:《达•芬奇与解剖学》16 aprile h19:00 – Istituto Italiano di Cultura di Pechino“Leonardo e l’anatomia”4月17日18:30 - 中央美术学院美术馆学术报告厅讲座:《创新者达•芬奇:文艺复兴时期科技的象征》17 aprile h18:30 – CAFAM“Leonardo innovatore e simbolo del rinascimento scientifico e tecnologico” 4月18日18:30 - 意大利驻华使馆文化中心新书介绍会:《达•芬奇笔下的女人》18 aprile h18:30 – Istituto Italiano di Cultura di Pechino“I segreti delle donne diLeonardo”4月19日10:30 - 天津大学讲座:《创新者达•芬奇:文艺复兴时期科技的象征》19 aprile h10:30 – Tianjin University“Leonardo innovatore e simbolo del rinascimento scientifico e tecnologico”5月7日18:30 -中央美术学院美术馆学术报告厅讲座:《最后的晚餐》中的技法和秘密7 maggio h18:30 – CAFAM“I segreti dell'ultima cena”  More

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: More

儿童工作坊|达·芬奇是如何创造的?异形同构的使用 ...

2019-04-30

达·芬奇绝不仅仅是一个画家,同样还是科学巨匠、工程师和发明家。他的很多科学设计和发明也使自然科学发生了重大变化。有时,他会凭空幻想出一些稀奇古怪的想法,而且他的构思与常人不同,达·芬奇会使用异形同构的手法,将不同的物种组合创新,创作了大量的笔记与手稿。本次,我们在五一假期带来第三场工作坊活动:“达•芬奇是如何创造的?——异形同构的使用”,带领大家感受达·芬奇是如何呈现他的创造过程的。(图片来源于网络)【工作坊介绍】达·芬奇从鸟儿的飞行写生到飞行器的设计尝试,从水流的分析写生到各种水利工程的设计,从人体骨骼肌肉的解剖写生到机器人的设计。经常实验性的将不同物品组合到一起,通过“异形同构”的手法创造新的事物。此次我们将带领大家共同学习并直观感受,在体验中进入达·芬奇的思维世界。(图片来源于网络)【关于异形同构】将两种以上的形象素材重新构成。注重形与形之间的结构关系和对画面整体结构的经营。实际上图形并无抽象、具象之分,只要它存在就是具象的。异形同构的重点在于同构,这种创意方法注重形与形之间的结构关系和对画面整体结构的经营。它更多地带有作者的主观意识。对于这类创意的要求所采用的形象素材要有针对性,也更加具体化。(图片来源于网络)【工作坊报名信息】工作坊时间:2019年5月4日(周六) 14:00—16:00工作坊地点:中央美术学院美术馆工作坊对象:5岁及以上热爱艺术的家庭(需家长陪同)招募人数:15人报名方式:请点击本条资讯顶端“我要预约”,儿童公共教育活动预约表完成预约。               报名成功后,将会收到短信回复。请勿重复提交报名。注:1、工作坊免费参与,每位儿童仅可带一位家长免费进入达芬奇展厅。    2、请报名成功的公众于活动当天13:45,在美术馆一层大厅集合并签到,       我们将带领大家集体前往活动地点。【工作坊导师】杨巧禾,中央美术学院研究生毕业设计参与项目亚洲文明对话大会、中国70周年大庆视觉形象等国家项目梁雯,中央美术学院美术馆公共教育部 项目专员 More

“不可能如何成为可能?” 周末一起到达•芬奇儿童工作坊来探秘 ...

2019-04-20

活动时间:2019.4.21 14:00-16:00 More

公众招募|马克奎恩展览跨界体验公共活动:发现未知的有趣 ...

2019-04-18

英国当代著名艺术家马克·奎恩的《皮相之下》展览正在我馆展出,他的艺术作品激情澎湃的表达“人”的特性,并时刻保持着与当下信息化、碎片化的混沌现代主义时代相碰撞的大胆,以及用身体的各个角度对于“后人类”时代不停断地进行试验与质疑,充满想象地执着于对“生命”无限延展的思考和探索。 我们每个人也都在探索,对于自我的探索,对于环境的探索,对未来的探索……充满未知的世界,如果我们用一种更有趣的方式来探索,是否会发现生活将变得更加趣味横生? 更有趣的方式,我们选择戏剧可以么?都说戏剧是生活的映射、现实的镜子,而即兴戏剧(Improv)更是像极了生活。生活本就没有剧本,不可复制又独一无二,处处充满未知和挑战。你永远不知道下一秒会有怎样的惊喜,勇气和智慧是打开奇妙生活的钥匙。 即兴戏剧介绍: 作为一种艺术形式,即兴戏剧(Improv)是一种反应的艺术。不同于一般的戏剧形式,在即兴戏剧里,没有剧本。演员或体验者需要根据观众给的关键词进行即兴创造。在即兴的世界里,相信直觉,相信每个人都有属于自己的创意,鼓励通过直觉灵感和集体间的配合来完成即兴表达。 即兴演员更是一群神奇的存在,他们有着奇妙的能力,把看似无厘头又毫无逻辑的脑洞碎片,用清奇的脑回路、丰富的肢体,以及相互协作与信任,穿针引线串连成一个个有趣的故事。 即兴本身关注的是真实的人,当下的反应,以及团队的互动和火花碰撞。“即兴带给参与者的,除了快乐的体验过程,更多是思维模式上的变化,让人们变得勇敢,享受未知,给与了人们FROM ZERO TO HERO的能量。也让我们在面对变化、压力的时候更富有弹性,成为更受欢迎的人。”麻花即兴制作人马悦舒说如此描述即兴的魅力。作为马克奎恩展览跨界体验公共活动,我们邀请了麻花即兴专业讲师张震,用120分钟带领大家体验即兴戏剧的魅力。本次体验,将糅合即兴的核心理念“Yes,and”分享即兴、体验即兴,全程互动式参与,在“好玩”与“发现”中激发想象力和创造力,发现未知的有趣。 公共活动讲师介绍张震,国内即兴演出最优秀的演员之一,麻花即兴首席讲师,拥有丰富的舞台表演和编剧策划经验,擅长融合开心麻花风格表演进行即兴舞台表演和课程教学。他作为主演和主创,多次参与即兴戏剧节,2019年4月参与墨尔本国际喜剧节。同时担任北京电影学院、北大光华管理学院、清华美院、长江商学院等多个项目的即兴表演导师。 活动报名信息:时    间:2019年4月19日(周五)18:30至20:30地    点:中央美术学院美术馆一层大厅招募公众:18岁及以上成人(限25位)报名方式:请至以下网址报名预约,               报名成功后,您将会收到短信回复。 注:1、活动免费参与。2、请报名成功的公众于活动当天18:10,在美术馆一层大厅集合并签到。3、着装以宽松舒适、方便体验为宜(女士不穿高跟鞋)。  More

CAFAM讲座预告| 列奥纳多•达芬奇与解剖学 Conferenza: “Leonardo e l’Anatomia” ...

2019-04-14

列奥纳多·达芬奇与解剖学时间: 4月15日18:30 -20:00地点:中央美术学院美术馆学术报告厅“Leonardo e l’anatomia”15 aprile h18:30 – CAFAM2019年,为纪念达·芬奇500周年忌辰,由中央美术学院美术馆与意大利驻华使馆文化处联合呈现的全球艺术教育推广项目中国首站“达·芬奇的艺术:不可能的相遇”将于4月16日在央美美术馆开展,同时双方共同策划的系列讲座,也将在开幕前和展览期间持续为公众呈现精彩内容。Nel 2019, per commemorare il 500 ° anniversario di Leonardo Da Vinci, la prima mostra d'arte del progetto di promozione dell'educazione artistica mondiale presentata congiuntamente da CAFAM e istituo centrale  culturale italiano a Pechino "L'arte di Leonardo - Opera Omnia" si terrà nel CAFAM il 16 aprile, e la serie di conferenze pianificate congiuntamente dalle due parti continuerà a presentare contenuti entusiasmanti al pubblico prima e durante la mostra.讲座内容:列奥纳多:医学、解剖、艺术和伦理Leonardo: la medicina, l’anatomia, l’arte e l’eticaGiampaolo Ghilardi詹保罗·基拉迪教授在讲座中将讨论一个科学和认识论意义上的列奥纳多,分析他的一个解剖素描中的两个错误。它将首次解释这两个错误,它们应该被视为一种研究假设,而不是纯粹意义上的过失。因此,讲座将根据一部首次发表的论绘画的手稿——《劳乌利手稿》——来介绍以列奥纳多的科学观察为主题的研究现状。La relazione tratta del profilo scientifico ed epistemologico di Leonardo, analizzando due errori presenti in un suo disegno anatomico. Si proporrà un’interpretazione inedita di questi errori, da leggersi più come ipotesi di ricerca che non come semplici sbagli. Si presenterà quind ilo stato dell’arte sul tema dell’osservazione in Leonardo da Vinci alla luce della pubblicazione di un inedito apografo del Trattato della Pittura: il Codice Lauri.列奥纳多·达芬奇:解剖、艺术和伦理Leonardo da Vinci tra anatomia, arte ed esteticaNicola di Stefano尼科拉·迪·斯特法诺教授将讲述列奥纳多拥有非同一般的多才多艺的技能,在他浩瀚的创作中,解剖素描代表了艺术天才与科学观察的聚焦点。从两幅脑室素描出发,讲座旨在探讨列奥纳多文化遗产中的一些中心主题,例如绘画艺术的模仿观念及它与观察和技巧之间的关系。La figura di Leonardo si caratterizza per una straordinaria versatilità. Nella sua sterminata produzione, i disegni anatomici rappresentano il punto in cui convergono talento artistico e osservazione scientifica. A partire da due tavole che ritraggono i ventricoli cerebrali, propongo una riflessione su alcuni temi centrali del lascito culturale di Leonardo, come la concezione imitativa dell’arte pittorica e il suo rapportocon l’osservazione e la tecnica.讲者介绍:主讲人Relator :詹保罗·基拉迪教授Giampaolo Ghilardi以满分加奖励毕业于米兰圣心天主教大学哲学专业,并在列支敦士登国际哲学学院(IAP)获得哲学博士学位。目前以“科技行为哲学所”伦理哲学研究员的身份供职罗马生物医学大学学园,主要研究神经科学、科学伦理、人类学、方法学及诊断逻辑学。曾出版重要的专论及论文,包括:《时间和神经科学》(与唐博内合著,SEU,罗马2012年)、《疯牛和华生大夫:医学行为哲学及道义》(SEU,罗马2015年)、《科技行为伦理》(Mimesis,米兰2018年)。他是多个学术团体的成员,包括意大利伦理哲学学会(SIFM)、卫生领域的诊断生物伦理及伦理顾问跨界小组(GIBCE)、监督研究网络、贝尔加莫科学文艺学校。si laurea in Filosofia cum laude presso l’Università Cattolica del Sacro Cuore di Milano A.A. e si completa il dottorato in Filosofia presso la IAP (Internationale Academie für Philisophie) delLiechtenstein. Lavora attualmente all’Università Campus Bio-Medico di Roma come Ricercatore in Filosofia Morale presso l’Istituto di Filosofia dell’Agire Scientifico e Tecnologico. Si occupa principalmente neuroscienze, etica della scienza, antropologia, metodologia e logica clinica.Ha pubblicato importanti monografie ed articoli fra i quali: Il tempo e le neuroscienze, SEU, Roma 2012; insieme al Prof. Tambone; La mucca pazza e il dottor Watson, filosofia ed eontologia dell’agire medico, SEU, Roma 2015; Etica dell’agire scientifico etecnologico, Mimesis, Milano 2018). È membro della Società Italiana di Filosofia Morale (SIFM), del Gruppo Interdisciplinare di Bioetica Clinica e Consulenza Etica in ambito sanitario (GIBCE), del Surveillance Studies Network, dell’Ateneo di Scienze, Lettere e Arti di Bergamo.主讲人Relator :尼科拉·迪·斯特法诺教授Nicola Di Stefano毕业于米兰大学哲学系,就读大学期间,还兼读“威尔第”音乐学院,获得低音提琴文凭。曾是罗马生物医学大学学园博士生,目前在同一所大学的“科技行为哲学所”担任助理研究员,主要研究美学、神经美学及哲学与神经科学的关系。他是罗马第三大学及阿肯色州大学罗马中心的合同教授,也是多个机构的成员,包括:“被感觉的:感知和经验对话”小组、国际美学词汇编纂委员会、《论音乐》杂志、意大利美学学会(SIE)、音乐感知及认知学会(SMPC)及欧洲音乐学认知学会。Si laurea in Filosofia all’Università Statale di Milano. Negli stessi anni frequenta il conservatorio “G. Verdi”, dove si diploma in Contrabbasso. Dottore di ricerca presso l’Università Campus Bio-Medico di Roma, oggi è assegnista di ricerca presso il FAST (Istituto di Filosofia dell’Agire Scientifico e Tecnologico) nella stessa Università. Si occupa prevalentemente di estetica, neuroestetica e dei rapporti tra filosofia e neuroscienze. È professore a contratto presso l’Università di Roma Tre e presso la University of Arkansas Rome Center. È membro di Sensibilia. Colloquium on Perception and Experience, membro del comitato di redazione del International Lexicon of Aesthetics e della rivista De Musica, della Società Italiana d’Estetica (SIE), della Society for Music Perception and Cognition (SMPC) e della European Society for the Cognitive Sciences of Music (ESCOM).系列讲座:4月15日18:30 - 意大利驻华使馆文化中心讲座 《创新者达·芬奇:文艺复兴时期科技的象征》15 aprile h18:30-Istituto Italiano di Cultura di Pechino“Leonardo innovatore e simbolo del rinascimento scientifico e tecnologico”4月16日 19:00 - 意大利驻华使馆文化中心讲座 《达·芬奇与解剖学》16 aprile h19:00 – Istituto Italiano di Cultura di Pechino“Leonardo e l’anatomia”4月17日18:30 - 中央美术学院美术馆学术报告厅讲座 《创新者达·芬奇:文艺复兴时期科技的象征》17 aprile h18:30 – CAFAM“Leonardo innovatore e simbolo del rinascimento scientifico e tecnologico”4月18日18:30 - 意大利驻华使馆文化中心新书介绍会《达·芬奇笔下的女人》18 aprile h18:30 – Istituto Italiano di Cultura di Pechino“I segreti delle donne diLeonardo”4月19日10:30 - 天津大学讲座 《创新者达·芬奇:文艺复兴时期科技的象征》19 aprile h10:30 – Tianjin UniversityLeonardo innovatore e simbolo del rinascimento scientifico e tecnologico” More

Four Waves: The Range of Things Richard Tuttle in conversation with Victor Wang ...

2019-03-15

时间:2019年3月17日(周日)14:00-16:00地点:中央美术学院美术馆学术报告厅嘉宾:理查德·塔特尔 Richard Tuttle、王宗孚Victor Wang主持:雷宛萤Wanwan Lei主办:中央美术学院美术馆、中央美术学院艺术管理与教育学院、木木美术馆 自上世纪60年代中期,美国艺术家理查德·塔特尔的创作生涯伊始之时,他的作品便打破了雕塑、架上绘画、纸本画作和诗歌等不同媒介的传统定义,他同时也拒绝如极简主义或抽象风格这类艺术史的分类方法。以一种开明的视野与心胸,塔特尔摈除了材料之间高低品质的美学分野,他在脆弱性中发掘张力,也在作品规模与其呈现环境之间的变化关系中找到潜能。自始至今,塔特尔持续地创作具有当代性的作品,同时不断超越此前的范式。1972年,当他的作品《金属线》在纽约贝蒂·帕森斯画廊展出时,一位观众向画廊主帕森斯问道,这件作品是否可以被认为属于极简主义。她不悦地答道:“让这些主义滚蛋吧!理查德·塔特尔是一位伟大的艺术家,他乐于创新。”  1975年,他的首个大型研究性个展在纽约惠特尼美术馆举办,艺术家再次在作品规模、创作方法和材料等方面拓展了艺术的定义,他本人在视觉或非视觉的艺术世界的研究探索也更进一步。这也是惠特尼美术馆有史以来最具挑衅性和争议性的展览之一,今天它已然具有了某种传奇色彩。1974年,塔特尔创作了《绳索3》,这件作品第一次展出时便以大胆和果决在艺评界与观者中引起了轰动,而它仅由一根极短的棉质晾衣绳(1.27 × 7.26 × 0.95厘米)和将其悬挂在墙上的三枚钉子组成。从这件作品到泰特美术馆涡轮大厅委托创作的长达24米、高达12米的大型装置《我不知道,纤维之语的交织》(2014),塔特尔善于利用作品的规模并将这一元素编织进展览环境,强调了作为场域的艺术和作为语境的艺术之间强大的相互联系。近半个世纪以来,塔特尔的作品激发了广泛讨论,他对于作品规模尺度和呈现环境的关注影响至今。我们非常荣幸在木木美术馆为中国观众提供了一次直观感受塔特尔多样化的创作全貌的难得机会,以回顾性的目光纵览艺术家长达五十年丰富而多产的艺术生涯。通过细节性地展示塔特尔毕生的艺术追求,我们得以领略艺术家关注于现实和精神强化的创作实践及视觉语言。本次论坛,理查德·塔特尔将与策展人王宗孚展开对谈,回顾其多样化的创作生涯,并围绕此次中国个展的策展理念,探讨日常物件与空间关系美学。 嘉宾介绍 理查德·塔特尔理查德·塔特尔于1941年生于美国新泽西,现工作和生活于缅因、新墨西哥和纽约。他的作品多被纳入全世界最重要的私人和公共收藏之中。其近期回顾展陆续在旧金山现代艺术美术馆、惠特尼美国艺术美术馆、芝加哥当代艺术美术馆、洛杉矶当代艺术美术馆和伦敦白教堂艺术中心展出。他的其他成就包括泰特现代美术馆涡轮大厅的大型委托创作、威尼斯双年展(1976、1997、2001)、卡塞尔文献展(1972、1977、1987)和参展惠特尼双年展(1977、1987、2000)的参展经历等。王宗孚王宗孚是一位独立策展人和展览制作人,现居住和工作在上海、伦敦两地。他是纽约Performa的副策展人,同时也曾担任近期出版的《1960-1990东亚表演史》(DRAF2018)的编辑。近年来,王宗孚策划了在以下美术馆及艺术廊的展览:柏林国立博物馆(2019待展)、上海香格纳画廊(2018)、伦敦白教堂美术馆(2018)、伦敦赛迪HQ画廊(2017)、上海Cc基金会&艺术中心(2017)、上海当代艺术馆艺术亭台(2016)、上海chi K11美术馆(2016)、以及伦敦当代艺术学院(2014)。另外,王宗孚也曾参与策划第十二届哈瓦那双年展(2015)以及第九届上海双年展温哥华馆(2012)。王宗孚在多个大学讲授过当代中国艺术相关课程,如东京艺术大学,考陶尔德艺术学院以及伦敦中央圣马丁学院。他也曾在伦敦皇家艺术学院担任客座讲师。雷宛萤木木美术馆创始人,策展人,毕业于中央美术学院人文学院,后于哥伦比亚大学研读艺术管理硕士,近年来成功策划了木木美术馆的“险怪:绘画的普世性”展览及“克里斯托弗·伊沃雷”回顾展。 More

CAFAM EXHIBITIONS&ACTIVITES NOTICE (MARCH - JUNE) ...

2019-02-28

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

Closing Notice(05.03.2019) ...

2019-02-03

CAFA Art Museum will be temporarily closed on Tuesday, March 5, 2019 for exhibition installation and reopen at 15:00 PM on March 5.The opening ceremony of the exhibition “Mute Encounters - Bruno Walpoth” will be held on the same day.Thanks for your notice!Welcome the general audience, CAFA teachers and students to visit the exhibition.|UPCOMING EXHIBITIONS|Mute Encounters-Bruno WalpothMarc Quinn: Under the SkinFor Beauty Is Nothing But The Begining Of Terror: Maggi Hambling Paintings And Drawing, 1960- More

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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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