Series II of the Contemporary Academic Open Lecture: How Do We Do Art Today?


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At 3:30 pm, on December 13th, 2013, the Session II of the “Contemporary Academic Open Lecture” entitled “How do we do art today?” was opened at the Academic Reporting Hall of the CAFA. It was sponsored by the Academic Committee of the CAFA, the CAFA Art Museum and the School of Humanities of the CAFA, supported by the Young Teachers Association of the CAFA, with Professor Liu Xiaodong, Director Wang Weisheng and Dean Yin Jinan acting as the general planners as well as Professor Song Xiaoxia as the academic presenter. Teachers and students of the CAFA and students from other universities in Beijing, as well as the general public also participated in the discussion. 

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Before the lecture, the presenter Song Xiaoxia introduced the nine speakers. She mentioned that this lecture was held on the occasion of presenting the “CAFA Teacher Exhibition”, and shared some thoughts of the teachers in the creation. It was an academic open lecture, and the audiences hoped to listen to a few more lecturers to talk about their artistic views. Then, the keynote speakers began to speak about their respective viewpoints and creative experiences in their fields of creation and research.

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Professor Sun Jingbo opened the lecture. He said that the scene of the conference had given him a long lost feeling. It reminded him of the lecture scenes when everyone was thirsty for knowledge in the old buildings of the CAFA. He reviewed the history of the CAFA together with everyone and pointed out that the old CAFA was a concentration of Chinese art history in the last century and influenced the direction of Chinese art in this century; meanwhile, the CAFA practiced the spirit of advancing with the times and absorbing diverse culture, which was the pride of the CAFA people.

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Professor Sui Jianguo described his art career: from following the trend of the country and the collective to gradually establishing his position. Among them, two turning points in his artistic creation were emphatically introduced. One was the June 4th incident that enabled him to find a way for individuals to do art—spending your lives and time slowly, then the material in front of you would turn into a work; The other one was the experience of being the director of the Sculpture Department, which let him understand “what is a sculpture”. The Sculpture is an art form related to time and space, inseparable from the feeling of the people or audience within it.

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Professor Shao Yiyang pointed out that there must be sharp ideas in the creation, and the “CAFA Teacher Exhibition” had many works with ideas, but they were not sharp and powerful enough, which was also a problem encountered by the current art world. Art should ask questions and focus on artistic language and social criticism.

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Professor Xu Bing believed that his creation was more about exploring contemporary cultural relations, in the persistent research of the particularity of Chinese culture, trying to touch Chinese people’s general way of thinking and explore the reasons why the current status of China was formed. Regarding how artists do art or make artworks sharper involves artists’problems. We should solve these problems at the present stage in the first place.

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Professor Yin Jinan said that the moment was the “Zhao Benshan Era.” Even the masters like to ridicule. The boundaries between the master and Zhao Benshan are vague, but social absurdity and sharpness are not reflected in young artists’ works. Sometimes Zhao Benshan’s ridicule is acuter than that of artists. A good artist first proves that he is alive, followed by thinking and social criticism.

 

He also believed that the chaos in the Chinese art market is because there are only investors and no appreciators.

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Mr. Yan Feng believed that at present the concept of work is different from that of the past and is two-way. The author must participate in the work. Also, technology has promoted art and design to some extent. However, works in which the technology cannot be seen are the best works. Technology is only a means and tool of expression. His creative process has gone through from simple to complex and from complex to simple again. Although creation is particularly difficult, he still feels happy in the process.

 

From the perspective of a designer, Wu Fan told that the teaching in the CAFA let him re-realize the unique value of a designer. A design has no fixed means of expression, and we have to abandon all contents and forms, devoted ourselves to a harsh environment to gain more stimulations in thinking.

Professor Xi Chuan has always maintained a cautious attitude and repeatedly stressed that he is talking about affairs of the cultural circle from the perspective of a poet, which can reflect the reality of the art circle in all respects. He pointed out that in this era of juggling, there is full of garbage. Whether the understanding of reality can directly become art and whether various kinds of the garbage can become an art language is a big test for artists. In the face of rapid development and cruel society, artists must be able to stand up and not lose themselves. While trying to be a good artist, art history opens another door for you. James C. Collins has said that “excellence is a great enemy”. At this time, artists are completely panic-stricken, going into a black hole just like writing. Artists should have their own coordinates in real life and define their targets.

 

Mr. Lu Liang said that doing art must be directional, and the target of the art service must be clarified. It is, ultimately, to find the self-worth. He is interested in topics that are related to everyday life, but rarely got responses from the public. Therefore, he believed that art is one-sided in the Chinese landscape.

Due to limited time, the nine teachers briefly introduced the methods of their respective creations, the perspectives of attention and many issues faced by the current art circle. In the Session I of the “Contemporary Academic Open Lecture”, by using the means of scene composition, all presenters created a lively “field” that continuously generated the possibility of thinking. The Session IIwas somewhat different. The audience present was more interested in hearing the answer to their questions about art.

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Q&A

1. Why must art be sharp, and is moderation art?

Xi Chuan: Sharp issues are the ones that involve personal art position. If doing art in the center of an artistic circle, you must have talented people who surpass predecessors; if doing art on edge, you have to be experimental; if you create outside the artistic circle, it is anti-art. There is no difference in the choice of art position. The moderation may face more significant challenges, so artists must choose their artistic views.
2. Do works have to consider social significance? Or can you express your ideas?

Xu Bing: Chinese artists are now in an unusual period and face many maladies. However, these maladies are also resources for our work, and they are experimental. The real value of Chinese artists is based on empirical foundation. Many things look normal, but they may step into history. The most important thing in works is to express China’s most advanced achievements in civilization. China’s wisdom, especially the view of nature, will undoubtedly play an important role in future development. We have the responsibility to tell the world the best part of the national culture.
3. Does the sculpture have to pay attention to the art language or to the expression of the artist, and how to view its relationship? Why a lot of contemporary art miss emotional expression?
Sui Jianguo: Regarding the highest standards, there must be language innovation to express yourself, because you are different from others and will find a language that suits you. A lot of contemporary art has excluded emotional expression, which is caused by personal artistic concepts. If reaching a certain stage, artistic creation will surpass the issue of so-called professional language, because the need to strongly express ourselves will create a unique style. 

4. Is basic training such as modeling accuracy and sketching necessary in college education?

Sun Jingbo: In the era of pluralism, we have experienced the process of inheriting the ancient Chinese art and absorbing the Western art, as well as the re-innovation. The plastic art is visual art, and we must not be preoccupied. The emergence and high end of each art genre require us to observe, emulate and study earnestly. I hope that students can continue to work hard to do their things well and perfect, having the ability to distinguish right from wrong in school.


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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.

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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.

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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
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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.

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