University Art Museums in China – Introduction and Production of Modern Knowledge

段君

当前对博物馆或美术博物馆的研究,比较忽略大学美术馆。国内研究文献对大学博物馆或大学美术馆的论述比重很低,最主要的原因是中国的大学博物馆或美术馆的社会影响力太小,比如北京中医药大学博物馆,每天参观的人数竟不超过十个,实在令人羞愧。但参观人数少并不等于该馆没有可看性,它拥有1500平米的展厅、千余件历代医学史文物以及两千八百多种中药标本,在整个医学界都是屈指可数的。当然也有部分大学博物馆参观人数少,是因为藏品匮乏。比如中国人民大学博物馆,该馆比较重要的收藏仅有国家文物局2009年从拍卖市场上优先征集而来的《陈独秀等致胡适信札》。[①]藏品匮乏不完全是经费的问题,更重要的是大学博物馆或美术馆的建设和管理目前还没有被列入大学办学水平评估体系,导致大学对博物馆或美术馆的建设不够重视。

回顾中国早期的大学博物馆,并不会如此闭塞,而且它们大多以学术研究为主。比如1868年成立的震旦博物院(旧称徐家汇博物院),在1930年由震旦大学接手其全部藏品。院内设生物研究部和古物部,文物陈列室展有青铜、陶瓷、玉器、钱币等。博物院还设有藏书楼,专收中西动植物科学善本,并常选标本供学者研究,甚至分寄标本给世界各地专家。[②]

民国时期建立的博物馆多由学校或教育机关筹建,实业家张謇在1905年分别向张之洞和学部递交《上南皮相国请京师建设帝国博览馆议》和《上学部请设博览馆议》。其中,他列出的六条博览馆具体操作办法值得注意:甲、建筑之制,乙、陈列之序,丙、管理之法,丁、模型之部,戊、采辑之例,己、表彰之宜。张謇的操作方法已颇具现代博物馆理论的雏形,并且他已经意识到博览馆可使莘莘学子有所观摩研究以补益于学校。虽然帝国博览馆最终没有建成,但张謇在提议建博览馆之前,就已经创办了中国第一所师范学校——南通师范学校。后来,他索性在南通师范旁边自办了一家博物馆——南通博物苑,该苑分设三部:天产、历史、美术。张謇的办馆理念可能受日本博物馆界的影响比较大,这从其拟订的作品征集启示以及博物苑参观简章等都可以看出来。这可能与他曾赴日本参观帝国博物馆和博览会的经历有关,张謇算得上是中国近现代史上引入现代博物馆学的早期人物。

再如1932年正式成立的成都华西协和大学博物馆(现为四川大学博物馆),分古物博物馆、自然史博物馆、医牙科博物馆三部分。 1932年,美国哈佛燕京学社(华西协和大学古物博物馆的经费全部由哈佛燕京学社拨付)委派美国人葛维汉(Dr.David.Crockett.Graham)担任华西协和大学古物博物馆馆长。葛维汉于1927年获得芝加哥大学文化人类学博士学位。他在对四川部分汉墓、唐宋陶窑的发掘工作中,使用了现代学术方法,使收录标本均有正确的记录和发掘报告,促进了中国西南地区现代考古学的发展。1934年,葛维汉整理出历史上第一份关于广汉古蜀文明遗址的考古发掘报告——《汉州发掘简报》[③],其中包括他对四川少数民族的调查,这对西南地区现代人类学发展颇有贡献。该馆继任馆长郑德坤于1941年获得哈佛大学考古学及博物馆管理博士学位。他在任职期间延续现代考古学的方法,主持田野考古、收集标本,并进行系统的陈列专题研究。同时,他在博物馆管理方面也引入了现代管理学。他在《五年来之华西大学博物馆》中乐观地谈到:华西大学博物馆已成为本市重要名胜,当地教授、学生以及对文物有兴趣的人士常有目的地来参观,并且外省及国外的人士、达官要员、国际名士、友邦空军,来此一游者也颇多。

以上表明中国最早的大学博物馆和美术馆对现代知识的引进和发展产生了很大的作用,但这条发展的线索后来中断了。我想重提这种传统,呼吁大学重视学校博物馆和美术馆对现代知识的引进和生产所起到的推进作用,建议目前的大学博物馆和美术馆弱化教育功能,少办本校师生作品展,而更多强调学术研究职能,因为现代知识生产的最高目标不是对知识的使用。否则,实验和创造的品质将会远离大学。高中教育或职业教育可以具有实用性功能,但大学是思辨性的,它发挥的作用在于详细地解释知识的法则和基础。

自20世纪50年代以来,人们更多地强调美术馆是教育机构。1947年,华西协和大学博物馆馆长郑德坤在为华西大学博物馆制定第二个五年计划时,也曾打算把该博物馆打造成近代化教育圣地,后因他留居香港未能遂愿。但我个人认为,大学美术馆并不能仅仅被限定为教育机构。大学在于学术,以研究高深学问为最高宗旨,学术之目的在于增进人类的知识体系,教育仅仅是学术的附属目的。大学博物馆使用大学学科及其研究力量,最重要的不是审美教育,而是进行知识和思想的生产,因为博物馆最早在罗马就是从事哲学讨论的场所。博物馆原来的概念比学院或大学要大,是研究机构、图书馆和学院的联合体。[④]

1989年在荷兰海牙第15届国际博物馆协会大会上通过的《国际博物馆协会章程》也指出博物馆的三大任务——研究、教育、欣赏。研究位居最前列,学术基础不牢靠,审美教育则无从谈起。我主张大学美术馆应根据自己的收藏来定位学术研究方向,可进行古代美术研究,也可进行现当代艺术研究,或者侧重于考古,比如北京大学赛克勒考古与艺术博物馆。尽管该馆在暑期平均每天也只能卖出二十多张门票,但作为中国大学第一所考古专题博物馆,它积累了不少收藏优势,其藏品最早来源于20世纪20年代北京大学考古研究所国学门考古学研究室,以及后来北京大学博物馆和燕京大学史前博物馆的收藏。所以,美术馆是脱胎于博物馆的,大学美术馆应该称为大学美术博物馆。博物馆早已不再仅仅展示古代作品,纽约现代艺术博物馆的概念和实践已经被检验是成功的。中国很多当代艺术家参加过西方大学美术馆的展览,但部分艺术家并没有搞清楚参加大学美术馆展览的意义何在。这些艺术家认为这只是参加国外展览的机会,还没有认识到其意义在于西方大学美术馆对作品的研究,以及大学作为纯粹的学术机构对作品所做的评价和判断。

西方博物馆的发展可以分成三个时期:文艺复兴时期、古典时期、现代时期。在16世纪晚期至17世纪,以贵族为代表的群体有自己的珍宝柜(the cabinet of curiosities),珍宝柜里收藏着一些自然物品和人工制品,当时就已经有了一些现代因素,因为这类收藏慢慢向其他人提供参观机会,并且开始更多地向学者、艺术家、商人、甚至工匠开放,以便他们进行研究[⑤]。18世纪中期古典博物馆兴起之后,博物馆更为专制,它们建立了较严格的分类秩序,类似于百科全书。文艺复兴时期的橱柜虽然也有分类,但分类并没有古典博物馆那么等级严格,贵族的收藏按照自己的兴趣分类,更具有个人性。

尽管同是为了了解和把握世界,文艺复兴时期和古典时期的分类标准却差别较大。在古典时期,博物馆试图提供一种绝对的标准,而文艺复兴时期的珍宝柜则更具有想象力和奇幻色彩,所以文艺复兴时期贵族的珍宝柜收藏后来被大学美术馆所重视。美国艺术家马克·戴恩(Mark Dion,1961-)在2001年为明尼苏达大学弗雷德里克·魏斯曼美术馆(Frederick R. Weisman Art Museum)创作的装置就叫《珍宝柜》。作品试图引导参观者批评大学知识体系,使大学美术馆成为实验室,甚至重新成为珍宝柜。它根据贵族自己的想象力安排收藏,因而有实验和虚幻的一面。实际上,最早的大学美术馆的确是从珍宝柜发展过来的,比如1683年牛津大学建立了世界上第一所大学博物馆——阿什莫林博物馆(Ashmolean Museum)。其作品就来自于珍宝柜,同时它还建立了研究所进行的学术活动。重建珍宝柜的概念,是为了引导学生参与变革、挑战大学的教育理念和博物馆的等级体系。

现代知识的生成与古典时期博物馆的没落有直接关系。随着18世纪末、19世纪初法国大革命的兴起以及拿破仑时代的来临,博物馆开始破除精英观念,民主逐渐成为主导意识。博物馆的参观对象也扩大为公民,并且主要是市民阶层,博物馆成为反愚昧的现代视觉实体。当然,貌似现代的机构也仍然隐含着一些阴谋,即作为国家机器对公众进行教化。艺术家马克·戴恩的作品显然就是不满意国家机器的驯化,他反对以理性名义进行的分类,因为它们受统治思想意识的操控。现代知识则要反过来揭示:谁决定知识是什么?谁在传授知识?传授的是什么知识?或者像福柯所问的:谁在说话?在所有说话个体的总体中,谁有充分理由使用这种类型的语言?谁是这种语言的拥有者?谁从这个拥有者那里接受他的特殊性及其特权地位?[⑥]

20世纪初反对博物馆最激烈的是未来主义,未来主义为什么宣称要摧毁所有的博物馆?正是因为博物馆没有生产现代知识,缺乏冒险精神。20世纪下半叶,西方发展出来的新博物馆理论,主要是质疑传统博物馆理论的研究方式,因为传统博物馆对价值、意义、控制、解释、权威、真伪等问题的研究不再令人信服。受福柯思想的影响,新博物馆理论要对博物馆是怎样建立起绝对标准的过程进行考古,揭示它的脆弱性。相对于自然博物馆或科技博物馆,新博物馆理论更适用于美术博物馆,因为其他类型的博物馆,比如科技博物馆,它并不存在价值争议,科技发展史不允许新历史主义式的判断,但不断的重新研究和进行价值评估是美术博物馆的必要过程。

如果说存在没有围墙的大学,那么肯定也存在没有围墙的大学美术馆。没有围墙,并不意味免费的开放,也不是强调任何人都可以无条件地进去参观,而是指大学美术馆应当基于非国家或非民族主义的立场。当前中国的大学美术馆给人最大的印象是地方情绪严重,展览总是局限在区域范围内。所以,现在最重要的是克服大学所在地的地域限制,从地方主义的局限中摆脱出来,才能生产现代知识。那么,摆脱出来之后怎么进行现代知识的生产呢?博物馆发生的两次重大思想革命就是答案。

博物馆在1880-1920年之间发生了第一次思想革命,被称为“博物馆现代化运动”,提倡大学美术馆要形成学科整体。1960-1980年,博物馆发生了第二次思想革命,要成为具有政治影响力的社会机构。第二次思想革命对大学美术馆有没有绝对必要是可以探讨的,对大学美术馆是否能成为具有政治影响力的社会机构的讨论,其实可以转换成学术是否具有政治影响力的讨论。古往今来,学术要不要具有政治影响力一直未能取得共识,我倾向于“学术可以形成政治影响力”的观点,比如欧洲思想家经常针对时局发言,学术在中国早期也与治国之术相关联。学术是成系统的,因为知识首先要从自身找到合法化的基础,找到超越实用的因素,才能有资格和底气去说服或影响政府如何行事。

学术政治化并不等于使学术沾染政治恶习。1912年,蔡元培就职教育总长后请鲁迅担任社会教育司第一科科长,主管图书馆、博物馆、美术馆等事宜,但却无美术馆可管,遂于1913年上呈《拟播布美术意见书》,倡导建立中央美术馆,未果。正因为教育官员并没有把心思放在教育上,一心当官而已,使得鲁迅递交的《拟播布美术意见书》石沉大海,但却不妨碍该意见书成为研究美术的现代论文。

美术馆发展遭遇政治阻碍屡见不鲜。中国美术学院美术馆成立于2003年。1955年,被傅雷称为“吾国近代造诣最高的艺术家”——黄宾虹去世,家属有意将其遗作四千余件和收藏三千余件捐赠给黄宾虹生前任教的浙江美术学院。但因当时大的政治气候,院方对黄宾虹不重视,且无法满足家属希望能经常公开展览的合理要求,最后院领导竟然没有接受捐赠。今天看来,这令人惊讶不已,否则该校美术馆的学院藏品陈列厅将何其丰富。

可见,大学美术馆首先要重视本校的学术资源,尤其是专业美术学院。综合性大学美术馆则应根据自身学科优势建立高等研究机构,进行跨学科研究。但学科综合或者跨学科并不是说研究要达成共识,而是探寻悖谬逻辑,因为大学美术馆也是生产未知的地方。


2010年1月




[①] 《中国教育报》,2009年8月7日,第002版

[②] 曹意强主编:《美术博物馆学导论》,杭州:中国美术学院出版社,2008年3月版,第48页

[③] 《四川日报》,2006年8月11日,第009版

[④]  曹意强:《美术馆的定义与国际学术现状》,《新美术》,2008年第1期

[⑤] (美)珍妮特·马斯汀编著:《新博物馆理论与实践导论》,钱春霞、陈颖隽、华建辉、苗扬译,南京:江苏美术出版社,2008年8月版,第28页

[⑥] (法)米歇尔·福柯:《知识考古学》,谢强、马月 译,北京:生活·读书·新知三联书店,2003年1月版,第54页

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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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