Sui Jianguo: Block the Vision, Awake the Body

采访时间:2011年9月16日上午十点
采访地点:北京 隋建国工作室
采访记者:张晨
摄像:宋海娜
摄影:朱莉

艺讯网记者(以下简称艺):隋老师您好!能否先请您介绍一下本次参展美院美术馆“超有机”的作品?
隋建国(以下简称隋):我这次是把铁球封闭在一个大箱子里面,我09年在今日美术馆做“运动的张力”那个展览,当时的作品是有两个系统,一个是在现场空间中有两个大球在滚动,这是观众能看见的,另一个就是在管道里运动的钢球,你只能听到它撞击的声音,但是看不见它。现在的这个作品,等于是把空间中的与管道里的二者合一,仍然会有一个大球在滚动,但因为把它封闭了起来,你看不见了,只有声音。我又在铁箱上,一边挖了一个洞,观众如果趴上去看,还是能模糊地看到一个东西在滚动、撞击,因为球很大,所以声音也是很响的。

艺:作品的名字叫?
隋:叫《有限的运动》,因为球在铁箱里,它的运动受到限制了嘛,英文就叫“limited moving”。

艺:您觉得《有限的运动》跟这次“超有机”的展览,在主题和理念上有什么关联吗?
隋:我现在还不知道他们把我的作品放在了哪个部分...

艺:“超有机”是有多个单元:生命政治、超城市、超身体、超机器等等。
隋:我觉得可能跟身体的关系更大吧。因为一般的视觉艺术,总是要用眼睛去观看的,而当你把作品封闭起来,眼睛不管用了,那就不得不调动你的其他感官,比如听觉啊触觉啊,等等,铁球产生的震动还会涉及到身体本能的感觉,所以我觉得也许是归入了身体这部分吧。
最早的时候,策展委员会是想要我的另一件作品——《时间的形状》,就是我每天刷一遍油漆那个,那件作品我觉得也是与生命、身体的主题有关,因为这相当于每天确定一下自我的存在。但是后来可能是展览需要一件大一点的作品,所以还是选了现在这件。

艺:《运动的张力》、《有限的运动》除了要处理空间、时间的关系,也都更多地与身体感官相关是吗?
隋:更多地跟感官的方式有关系。因为一般认为雕塑作品都应该是静止不动的嘛,而它一旦运动起来,就会与你的身体发生关系,形成互动。相较于《运动的张力》,这次的《有限的运动》更内向了,我是希望它能够在潜意识的层面上对观众起作用,这个“潜意识”我是怎么理解的呢,就是一般对艺术作品的认识,都是在一个意识层面上,看到一幅画、一件雕塑,想到它的内容、造型等等,你对它的理解是有意识的,是大脑中知识层面上的理解。而当你的视觉被屏蔽起来,这种习惯的理解方式就会退位,身体的感官就出来了。

这就好像你在马路上走路,忽然在你身后有一辆车飞速地开过去,你当时会是什么感觉?你可能一下惊醒,但其实车已经过去了,这个就是你的视觉看不见的,但你的身体会马上做出反应。我是觉得这种车与你的关系和感觉,其实已经渗透到潜意识中去了。这种感觉你会印象深刻,但你却说不出来,或许忽然有一天,在梦里或者某个时候,你会忽然想起:我怎么又有那种感觉了?一种带有恐怖、紧张、似曾相识的体验。所以我是以一种拒绝视觉的手段,来唤醒来自身体的、潜意识的另一种感觉。

艺:更原始、更本能的感觉?
隋:可能更原始。

艺:您是如何从早期的《衣钵》、恐龙这些作品转向现在关注运动、身体感官的这一类作品的呢?
隋:这可以说是我一个自学的过程。其实我最早进入当代艺术创作的状态,是在1989年之后,那时候心情不好,是一个很特殊的状态,也会很容易想要通过艺术来表达自己——你会将这种特殊的状态和心情,通过你的作品,不自觉地流露出来。

那时候我做的是《地罣》啊、砧木啊、胶皮啊那一类作品。一直到了97年,我才发现“中山装”这个东西,我就觉得它很有意思:它给了我重新面对“写实”这种手法的机会,因为我之前的作品其实都跟写实没太大关系,而是着重于材料的感觉,通过这种材料,渗透自己的精神状态。我那时候是故意回避写实,因为你会发现你不会用它,你一旦用了,就会变成美协啊、社会主义现实主义啊,那样的东西,所以那时候都希望有个性,都喜欢变形、抽象的因素。所以我就做了早期那批东西。

但是对于“写实”来说,你回避它、不用它,并不等于你把这个问题解决了啊,直到“中山装”的时候,我才发现,原来我可以运用写实的手法,来表达一些不一样的东西。

艺:《睡觉的毛主席》也是在那个时候的作品?
隋:对,是97年到03年,这段时期我做的作品,都是这个思路:就是运用写实的语言,而去表达我个人特殊的感觉。当我在用写实的同时,其实我也在分析、解构写实这门语言本身的系统,它是我的手法,同时又是我的研究对象。写实这个手法很有意思,当你不用它时,你只能避开它,你一旦用了它,你才能去深入地了解、研究它。

一般艺术家运用写实,只是用这种手法来表达自己的情感,而我的运用,则还会分析写实自身的系统。当然这其中肯定包含了我个人的情感,跟社会主义意识形态啊、跟毛泽东啊,等等的关系。这种创作方法到了《睡觉的毛主席》算是一个终结。

艺:您的“写实”跟以前的“现实主义”肯定是不一样的。
隋:我的这个可能比以前的“现实主义”更“现实”一点。以前的“现实主义”过于矫饰,而我除了表达的情感是真实的以外,还在作品中探讨“现实主义”本身的一些问题。

艺:您认为您的这种方法,可以说是“写实”在当代艺术中的一种出路或者说新的手段吗?
隋:我认为是一种很好用的手段。但是到了《睡觉的毛主席》,这个问题我自己觉得解决的差不多了,然后我就想,我最早期的作品是属于没有形象的,但不能说它是抽象,因为没有一个结构的设计,而是一种自发的表达。然后我又用观念艺术的手法,将过去的“现实主义”的系统进行了解构。这样工作过一段之后,我就想要有一个新的东西出来,也是很巧,正好我五十岁生日,时间的紧迫感来了,就有了现在的这一类作品。我可能就是这样,六、七年就转化一次。

艺:“恐龙”属于哪个阶段的?
隋:97年是“中山装”,98年是“衣纹研究”,99年就是“恐龙”。其实恐龙我是尝试运用现实主义中放大的方法,把一个小玩具放大成三米。

艺:您认为放大是现实主义的方法,但是好多人把它理解成后现代的手法。
隋:其实我觉得这整个的创作理念可以属于后现代的,通过将一个生活中的原型进行再创作,通过放大,引起人们的关注,实际上是把它符号化了。

到了05、06年的时候,就又出现了转化的时机,就是我的年龄,到了五十岁,时间的紧迫感来了,由于对时间的焦虑,就发现时间这个东西,因为它与空间对应,它可以成为雕塑里面造型、形体之外,更基本的一种元素。因为所谓造型,都是在空间里面存在,而如果从普遍的意义来看,时间与空间就包含的面更大、更基本一些。于是我就沿着这个线索开始探索,而且我觉得这个线索还不错,沿着它我可以离雕塑的核心更近一些。当然作品的形态也会随之发生变化。

时间与空间,它是一个坐标系统,等待有人往里放入东西,因为当没有物体时,它也是不存在的,它需要借助某一个物体才会现身、被我们看到。而我认为在时间、空间之中有一个东西是它的核心,那就是人的身体。因为在时间空间里存在的东西,都需要借助人的身体产生作用。实际上,存在的不是那个东西,而是因为人存在——人存在,时间与空间的坐标才会转动起来,而人的存在,也会使这个坐标中不断产生新的东西、新的关系。所以我认为,人的身体,应该是一个核心。因此我也就慢慢开始关心与身体关系更密切的东西。

艺:这些观念的转变,都是跟您个人的想法有关系。其实您之前对写实手法的运用也与个人的经历有关吧?
隋:写实手法是这样,在我求学的期间,写实是一个既定的东西,无论是古典的形态,还是浪漫主义的,都是一种可用于教学的模式,一般的学生可能一旦接受这种模式——因为毕竟这种模式是很好很成熟的,它足够你把自己个人的想法放进去,也可以发挥出你个人的个性,不过就是我不太满足于这种模式。当然最早是一种幼稚的年轻人心态,好像愤青一样,后来我经过97年到03、04年的阶段,我就开始理性地看待这个问题了。因为当时我在做系主任,我也确实想对整个中国这套社会主义现实主义的美术系统有一个思考,这也可以说是我的一种“职业写作”,我既然做了系主任,就必须对这个系统有一个理解,并且还会想是不是能够在我在任期间对这个系统有一个补充、或者说修改。所以这就要求我首先去深入了解它。

这样我就发现了两个问题,首先,这个从古典主义延续至今的写实系统,它其实与中国的本土文化是有些矛盾的,因为如果按照这个系统来看中国的传统艺术,它就只能吸纳其中跟形象有关的东西,比如陶俑啊、陵墓、寺庙雕塑等,只会把它们算作雕塑,其他的就不会被吸纳,而被归入工艺美术一类。我是认为,西方的这套写实的系统,它是以人为中心的,建立在对人形象的自我崇拜的基础上。

艺:背后有一个基督教的精神。
隋:对,建立在人神同形的基础上。这就要求它把人的形象放在一个最核心的位置。而它就不足以概括中国的本土文化,因为中国的文化是泛神论的,当然它不是抽象,但它又是很难被放入西方这个写实的系统中来考察的,同时也很难用这个系统来理解、概括中国的本土文化。这是一方面;另一方面就是这个系统不足以应付今天的现代化生活与社会状态。这个问题不光是在中国的当代艺术中得到了认识,其实西方的这个系统本身也早已展开了相关的思考,像从现代主义到后现代主义的进程,都是在反抗、质疑甚至超越这个系统,而且随着他们的扩展,这个本来占统治地位的写实系统,也就变成了整个艺术系统的一个部分与分支。我觉得在中国,我们的日常生活已经进入了全球化的环境,也必然要面对、考虑这个问题。

这就是我对写实手法的看法,我不是说它不好用,只是它的能力是有限的,如果固执于它,就会丢失一些其他的重要的东西。

艺:写实的方面是一个,另一个就是您早期对于材料的研究,现在来说有没有转变?
隋:我现在回想起来,其实我05、06年以来的这批的东西,倒是跟89到96年的那一批有一些接近,这些东西都能让我把社会政治、生活环境对我的作用,以及我个人的生存状态,通过对一种材料的应用,渗透到作品当中去。只是我现在的状态,不会像那个年代一样,觉得我自己像一个受害者,现在我的心态更加平和了。

这种心态变化的原因,是因为我发现这个问题其实不在外面,问题在我自己,我需要斗争的也不是这个大环境,恰恰是我自己。因为这个社会的状态,同样会给我以教育。在80年代末90年代初的时候,很多艺术家都觉得咱们的社会有问题,政治对艺术、文化的干涉过多,于是就对经济抱希望,觉得也许经济来了、市场有了,我们的环境就会好一些。而到了90年代末,一直到现在,你会发现,其实这个经济也没给你多少帮助,它甚至会跟政治、意识形态联合起来,一起来压制艺术家的创作力和他对社会的作用。实际上最后你会发现,并不是这个环境对你有反作用,而另一个环境就会给你正作业,说不定它们都会是反作用。而到了这个时候,中国的艺术家才真正进入一种了现代艺术的状态,真正开始面对建立在资本主义文化系统下的庞大的对手。

我现在回想起来,在八十年代启蒙的时候,当时大家都爱读书,很多人觉得自己好像理解了存在主义、海德格尔、卡夫卡等等,从精神上觉得我们已经与他们共通了,而在社会环境上我们也好像有同样的境遇。但现在看来,那个时候的启蒙与感受,都是从书本上得来的,它没有一个身体的切身体验,直到今天,其实你的身体才真正开始面对这个问题,真正把你卷入其中,而不只是停留在书本的知识层面。

艺:就像我们以为中国已经迈过现代进入后现代了,其实现代才刚刚开始。
隋:刚刚开始,你才刚刚开始面对现代化的困境,而且你会真实地感觉到无处藏身,所有的地方都被塞满了。

艺:这就让我想起您的“大提速”的影像作品。
隋:06年拍的。

艺:那个作品就容易跟最近动车的事故可以联系起来。
隋:对,其实做“大提速”那时候,我还真没想到这个问题会在今天以这样的形式体现出来。

艺:我们的政府一直在要求更高、更快、更强,很现代主义,但文化、艺术上却要求你很后现代,好像怎么都行,玩世不恭,但不要去批判、不要太前卫。
隋:倒不是不能批判,他是不让你去干扰这个发展的速度。其实咱们就说“维稳”这个词,它其实应该是靠树立更多的社会公平、正义来实现的,但是在中国,最有效的“维稳”却是速度。就像这个“保八”,GDP每年百分之八的发展速度绝对是一种特殊的状态,只有中国以百分之八的速度发展了二十几年,一般百分之四、五已经是高速度了。因为在中国,你只有超过了百分之八,整个社会的就业啊、资金周转啊、轻重工业的关系啊等等,才可能维持住。它是通过超高速的状态来维持系统的运转,这真的是前无古人的。你想让它慢,慢了就会出问题,它就像一个轮子的自行车,慢了就会倒下来。

当然这不能说是哪个政府的问题,如果说它是一个悲剧或者荒谬的事情,它其实是这个民族、这一拨人的问题,跟我们每个人都有关系。拍“大提速”的时候我才想明白,我们这代人对“时代列车”这个概念,从来都是正面的,总是觉得国家发展得快是好事,而作为你个人,绝对不能被“时代列车”抛到后面。但是,当这个“时代列车”跑得太快,你会发现,所有的问题才都出来了。

所以我觉得这是跟每一个人都有关系的,也可能它体现了一个原有的中国社会与文化的综合系统,跟整个国际资本主义系统的不合拍、不咬合。很奇怪,因为咱们从没经历过这个阶段,所以还很难去判断它。而以前我们还能从别的地方读到一些前人的判断,比如读马克思的《资本论》、看苏联的革命、吸取美国、日本的发展经验等等,但是现在所有的国家,无论是社会主义的老大哥,还是资本主义的老大哥,他们都再也不能为我们提供经验,因为这些事情他们也没经历过,过去是美国、欧洲的专家来我们这里指手画脚,现在是他们回过头来问我们该怎么办。我相信中国的加入,是为国际资本主义加了一大箱油,但是加满了油之后,这个庞大的机器该怎么运转?谁都不知道。这也就给世界带来了新问题。

艺:那么艺术就要面对这些新问题。
隋:我觉得是这样,艺术它处理不了这些问题,但是它通过个人的渠道,把这些问题消化——因为艺术家他只是一个个体,不是一个经济学家或者政治家。艺术家的整个感官,是应该善于将这些问题、感受吃进来,然后再进行转化,而它一旦转化出来,它就一定是有关个人的。就像佛教里所说的,每个人看到的世界都不一样,你看是一只狮子,我看可能就一块石头,都是个人化的,我觉得艺术家就是这样。

艺:但是个人化是一方面,艺术家所表达的问题却应该是大家都关注的,又不能太个人化。
隋:对,从这个意义上来说,我是认为当你的感受越真实、越深层,它与别人的共鸣就会越大。就像刚才讲的八十年代,我们都读萨特,我们可能也能交流、碰撞,但这种碰撞只能是知识层面的,它碰撞不出东西来,因为它总归不是你个人的东西,它是萨特的东西,只不过今天你来吃他的饭。

我觉得当你把个体最深处的东西挖掘出来,它才更可能更多地与集体无意识的东西相关,才真正是你的东西,也会更容易与他人产生共鸣。

艺:我看到您书架上还有本格林伯格的《艺术与文化》。
隋:对,这就是我说的,启蒙时期大家只停留在知识的表面化。因为在那个时候我也知道格林伯格,也多少知道一点抽象表现主义、极少主义。但直到今天,像沈语冰他们把这些著作认真地翻译过来,你认真地读,才会真正了解到那个时候的社会背景,知道它是怎么回事。

艺:我是觉得您对雕塑的理解很像格林伯格,因为格林伯格说绘画的特性是平面性,所以要不断走向平面,而雕塑的特性在于空间感,这就像您在作品中对于空间、时间问题的把握。
隋:我觉得我现在是有点中西混杂,但是咱们就说老实话,说我自己的体会:平面这个东西是很特殊的,平面在人类的意识中是不存在的,原始人看到东西都是立体的、都是真实的东西,他们也一定先会做立体的东西,而画一个平面其实更难,因为平面是要把这个世界抽象化的。所以说人类进入平面,实在是一大跃进。

但是今天我们回过头来看,咱们的视觉艺术,除了平面的之外,我觉得就是雕塑。平面的东西就是绘画、摄影,剩下的、你闭上眼睛之后所能感受到的东西,就是雕塑。

这里面比较难处理的是影像,因为它有声音,又有一个时间的过程,一是它本身的时长,另一个就是观众观看的时间。这个是平面不能容纳的,我也愿意把它拿到空间的艺术里来。当然这是我个人的分法,不见得符合什么理论。我的这种分法有点不讲理,但我觉得它很有效。我在给学生上课的时候就说:什么是雕塑?你闭上眼睛所感受到的一切都是雕塑。

当然我不是说我排斥视觉,视觉是人很重要的感官,就像扫描的雷达,但是处理这些扫描数据的中枢,是你的身体,视觉处理不了,甚至有时候大脑也处理不了,你的身体会第一时间给出反应。
这种说法也有我作为雕塑家的自私在里面,我把身体看得更基本,把放在视觉一个附加的位置。我认为身体是雕塑的核心与本质,如果这样去区分,你也就不会去在乎写实不写实的手法,对雕塑根本问题的理解也更深了。

艺:那么装置与雕塑的区分在哪?
隋:其实在我看来,雕塑与装置是可以不分的,如果说有区别的话,我觉得在于做雕塑与装置的艺术家,他们关注的点不太一样。

艺:装置的区别在于用了现成品吗?
隋:如果说你闭上眼睛,能够感受到的东西都是雕塑,它也就没有现成品的概念了。当然如果一个不太懂雕塑的装置艺术家,他可能会把更多的精力放在刚才你所说的现成品、以及它背后的观念上,而雕塑家则更关注作品的形状、空间中的作用,像与现场的关系等等。

艺:装置的观念更强一点,而雕塑可能更需要顾及形式的、材料的东西——这是您不喜欢被称作“观念艺术家”的原因吗?
隋:我不喜欢“观念艺术家”这个称号,是因为美院的一次讲座,当时我有点愤怒。那次是来了两位日本的物派艺术家关根伸夫和水清水渐,在美院做讲座,请我作主持。在讲座上有学生问他们,说你们觉得自己是观念艺术家吗?他们两个本来很好的艺术家,却不敢回答自己不是。因为在他们做作品的时候,正是观念艺术最纯粹、最经典的时候,那个时候认为只有用文字做作品才是最好的观念艺术。

艺:像科苏斯“艺术就是哲学”。
隋:对,艺术就是哲学、就是观念。只是到了八十年代之后,“观念艺术”这个词才开始泛滥,受杜尚以来到七十年代科苏斯他们思想的影响,所有之后的艺术家好像都要经受一场观念艺术的洗礼,必须把观念艺术作为自己工作的一个背景。这个时候就可以说,每个艺术家都是观念艺术家,所有的当代艺术都是观念艺术。但是当时两位日本艺术家就没有把问题说清楚,那我说如果你们说自己是观念艺术家,那我说我不是观念艺术家,我只是艺术家。因为“观念艺术家”这个词用得太滥了,好像每个人都想当观念艺术家一样。是有这么一个说话的背景。

当然说自己不是观念艺术家,可能只是一个情绪化的表达,因为作为一个艺术家,你可以仔细地去甄别什么情况下你是观念艺术家,什么情况下不是,但是当你泛泛地说的时候,那就会很讨厌,好像大家都不敢否认这个事,我是觉得艺术家没有什么不敢否认的,不可能这个事我不能说,说了我就完了。


中央美院艺讯网 张晨

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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.

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