Take Away the Authority:Artists,Networks,and Collaborations in Contemporary Global Art—Minutes of Lecture by Alexandra Munroe

徐冰:今天特别荣幸请到了我们的老朋友,也是“首届CAFAM 未 来展:亚现象——中国青年艺术家生态报告”的总策展人之一亚历山大·孟 璐(Alexandra Munroe)来美术馆做讲座。孟璐长期在艺术界工作,有着丰富的相关经验,她对西方主流艺术以外的艺术,尤其是亚洲艺术给予了关注和研究,长期以来做过很多这方面的工作。

简单介绍一下孟璐参与的展览和出版工作。她策划过“第三思维: 美国艺术家对亚洲思考,1860 至 1989 年”展,这个展览做得比较早,给很多人留下了非常深刻的印象。她还策划过草间弥生的“一次回顾”展;另外还有“1945后的日本艺术:对着天空呐喊”、“小男孩:日本的爆炸—— 亚文化”等展览。亚历山大·孟璐在到古根海姆之前,策划过蔡国强的一个个展“我要相信”,这个展览在孟璐的实际操作下获得了非常好的反响。她还策划过一个在中国美术馆展出的很有意思的展览——2007 年的“美国艺术 300 年”展。孟璐在策划这个展览的时候,非常希望能有一些曾经在美国工作过的外籍艺术家共同参加,不过因为艺术界有各种各样的思考和较量,最后这个计划没有实现。但通过这个事情我们可以感受到孟璐长期在西方推动亚洲当代艺术,以及呼吁、研究亚洲和西方当代艺术之间互动关系的努力。

亚历山大·孟璐从 2006 年起担任古根海姆美术馆亚洲艺术部高级策展人,自此之后,她的很多著作和她的工作使得古根海姆美术馆成为推动亚洲艺术的一个先锋机构。下面我们有请孟璐给我们做演讲。

 

亚历山大·孟璐:过去的十多年中,我在与中央美术美院同仁的对话和沟通中,获得了许多灵感,他们的很多想法影响了我,特别是有关中国当代艺术的思考。同时,对一些基本问题,特别是对于策展人在当今全球艺术世界所面临的基本问题,我也在和美院同仁们的交流中获得了很多启发。

今天我想给大家讲一种我在世界各地当代艺术中都观察到的现象。 在中央美术学院美术馆展出的展览(“首届CAFAM未来展”)中,我也发现了这些现象的踪迹,我把它称为“互联网模式”。我觉得互联网模式这个词描述的是最新的一种现象,实际上这种现象也是吸取了 20世纪 90 年代关于“艺术是社会互动和政治参与的一个平台、一个实验室”这一比较先进的理念。这种模式当中也包括视觉艺术家所创作的作品,但是这些视觉艺术家的创作理念已经远远超越了传统视觉艺术的范围。因此,我要讲的一些作品,既包括了实际生活空间也包括了网络空间。同时这种模式也充满漫无边际活跃的讨论和不可预料的充满活力的小组活动,也致力于对我们这个星球的状态进行创意研究。而且,这个互联网模式不仅仅是促进当代艺术的发展,同时它也模拟网络博客的模式,把这种无限可变的社会传媒网络加以应用,不仅仅把它当作是内容既定的容器,我们的用户还可以以任何的方式自由访问、消费、转发内容,同时这个模式也把我们传统的艺术和艺术家之间的关系进行变革,把它放在更加多平台的模式下进行发展。

从这个模式所深化的项目不会加到一起对某一个主题、某一个事物进行推理,相反,这个模式所挑战的是我们既有的认知规则,同时通过意想不到的互动和联系来激发新的认知规则。这个模式也吸引跨学科、跨媒体、跨历史阶段、跨话语权、跨经济阶层和国界,甚至是跨城乡边界的人员和思想来参与,因此我们所谓的互联网模式是推翻艺术家的权威,转而支持充满活力的即兴参与。

今天我要给大家举几个例子来讲述这个模式的相关情况,这些案例来自于印度、日本、美国等,还包括我参与的上海项目和非洲项目。我不是面面俱到全面地回顾,而是举例来说明一下,这样我们可以从中发现这些项目所包含的艺术方面的含义。

第一个例子,古根海姆宝马实验室(BMW Guggenheim Lab)。这个项目是在古根海姆博物馆推动下开展的,但不只在博物馆内部举行,而是在古根海姆博物馆内外都有相关的活动。

古根海姆宝马实验室这栋建筑的设计师是东京的犬吠工作室 (Atelier Bow-Wow)。他们感兴趣的不是建筑设计师如何进行设计,而是建筑设计师如何在城市社会空间中开展他们的工作。他们曾做过一个项目,其理念就是要设计一个开放性的实验室,创造一种空间。这个项目当时24小时全天候地运行了两到三个月的时间,期间组织了各种各样的讨论、研讨会,还包括放电影、演讲等等,所有这些活动都是围绕“城市设计”这样一个主题展开。他们主要探讨:我们在 21 世纪的城市中跟各种各样的矛盾生活在一起,我们怎样迎接我们所面临的不同矛盾。很多相关领域,比如建筑设计、城市规划、废弃物管理、教育、艺术等等都被纳入了进来。

这个展览当时是在纽约下东区的Holten 大街展出。以前那个地方是一块空地,到处是老鼠,当时我们和纽约公园管理局进行了协商,他们给我们授权,把这一块地清理出来,然后把这个艺术项目安排到那边去。我们在那个地方展出了三个月,完全是实况展出。在整个项目当中,我们把建筑、设计、研讨会以及当地很多活动融合在了一起。2011 年夏天,纽约还有一个“占领华尔街”的运动,我们也把这个运动吸引了进来,当时有很多占领运动者也参与了这个项目。我跟大家介绍这个项目,是想跟大家展示一下艺术发展的趋势。我们在一个由古根海姆博物馆赞助的项目当中,把不同学科整合在一起,开展了跨学科的合作,这样一来,我们就把这个项目真正演变成跨学科的实验室,从而可以分析相关文化的含义。

我强烈推荐大家去看这个BMW Lab 网站(http://www.guggenheim. org/guggenheim-foundation/collaborations/bmw-guggenheim)。在网站上可以看到非常有意思的实况演示,从中还可以找到建筑设计师、艺术理论家、艺术家等等在一起进行的非常热烈的讨论。这些内容都是我们崭新的艺术形式的组成要素。通过这个项目,我们不仅有一个崭新的艺术品展示方式,同时也推动艺术向新的方向发展。

第二个案例是“样板屋:2012 林明弘”。这个项目也是犬吠工作室设计师参与的一个项目,我自己也有一些参与。它于 2012 年春天在上海 外滩美术馆(RAM)展出。参加这个项目的还有台湾艺术家林明弘(Michael Lin)。在这个项目中,林明弘是装置艺术家,也是互动型社会活动家。他和上海的民工、上海的城市理论家,来自东京的建筑设计师、音乐家、

视觉艺术家等等展开互动和合作,所有这些人都为这件装置艺术做出了贡献,从而创建出我刚才所提到的互联网模式。我们可以看到在这个项目当中也有跨学科合作,他们的共同努力才使这样一个展览得以实现。

具体来说,在这个项目当中,林明弘创作的这些壁画用到了在台湾批量生产的一种布料的花纹。在这个项目中,还有 20 名来自上海的工人,他们住在博物馆,进行壁画的油漆上漆的工作,他们都是非熟练的工人。犬吠工作室为这些工人安排了他们的临时住所。我们可以看到,建筑设计师、视觉艺术家还有工人,他们在这个项目当中进行了很融洽的合作。这印证了我刚才说的互联网模式的效应。

同时,林明弘还和电影制片人程然进行合作。程然把该项目包括工人在现场工作和生活的情况等制作成视频作品。另外一位声音艺术家楼南立又把这样的背景及其音乐整合在一起,做了一件声音艺术品。在这个过程中,艺术家放下传统意义上的权威,放下传统的创作方向,与来自于不同学科不同领域的人员开展合作。像这种艺术作品,不仅仅是在艺术上非常有意思,同时也给我们策展人带来新的启示。

第三个案例是自印度的阿玛尔·坎瓦尔(Amar Kanwar)。阿玛尔工作在新德里,他既是一位制片人,又是一位社会活动家和档案学家,他的工作领域不仅仅涉及电影,同时还有网络创作和社区互动。阿玛尔的作品在许多双年展和三年展展出,他可能是印度最知名的当代艺术家之一。阿玛尔是一位跟不同学科开展合作的艺术家,他的合作涉及很多不同的领域、不同的想法、不同的人员。同时,他既涉及很多社会活动,也在政治相关的领域有所涉足。比如,阿玛尔和缅甸的公民有多方面的合作,许多缅甸人士因为政治迫害逃到美洲国家和挪威,他跟这些人都有接触。 他的一件名为《被撕毁的第一页》(The Torn First Pages)的作品,所展示的就是缅甸的政治情况。阿玛尔还在互联网中获取信息,他把自己和很多人的访谈做成了纪录片。这件完整的装置艺术品有19个频道,每个频道的视频作品播放持续三分钟。我自己对他的作品感到非常感兴趣,我们在古根海姆博物馆也给他策划了一个展览。

第四个案例,是名为 RAQS Media Collective(成立于 1992 年)的印度新媒体艺术家小组,它由三位艺术家组成。他们的合作方式就是我刚才提到的互联网模式。他们是一个集体而不是一位艺术家,他们在新德里开展自己的艺术创作,而且涉足的领域非常宽泛,既做纪录片也进行策展,包括双年展的策划,也出版图书,设计相关的活动,还与建筑设计师、剧院的院长、计算机程序员等人士开展合作。这个小组感兴趣的话题包括知识、文化、技术,也包括互联网的应用,以及怎么样用新的方式、新的技术来生成知识、传播知识。他们的艺术作品是把视频、静止图像、文本、声音、软件、表现、雕塑以及他们所能找到的相关物体结合在了一起。实际上他们所探索的主题是关于现代性、关于进步、关于发展、关于国家政府的组成等等问题的一种矛盾心理。而且对于多元文化、对于身份的认同感、对于民族主义等等,他们都是抱着愤世嫉俗的态度。并且他们没有执着地应用某些非常教条的理念,而是在探索用不同的媒介来反映这种矛盾心理背后的诗意。

第五个案例是一个艺术家组合,名为 CAMP(成立于2007年),也是来自印度,由两位艺术家组成。他们这个小组还和一些更大的艺术小组进行合作。他们参与过很多项目,例如这件参加第十一届沙迦双年展的作品 《From Gulf to Gulf to Gulf》。同时,他们还通过各种各样的媒介来展示他们的艺术创作,比如通过影院、图书馆、展览、图书、网站还有各种不同形式的表演等。他们在策划和实施展览的时候也不仅仅是限于某一个领域某一个物品,而是进行跨学科的合作。

第六个案例是名为 Invisible Borders 的艺术家组合。他们是一个由非洲的艺术家、摄影家、作家、博主组成的艺术家小组,他们在非洲各地进行摄影以及其他方面的创作。这些人一起徒步旅行去过非洲 五六个国家,每次旅行长达 1.3 万公里左右,历时 50 天,然后再进行创作。他们这个项目旨在探索非洲、展示非洲,但他们所展示的非洲不是我们过去所认为的非洲。他们的所有作品都可以在网上找到,他们每天更新博客,展示他们的作品,特别是摄影作品。另外,每次旅行结束的时候,他们都会出一部厚厚的书来反映他们的创作情况。同时,在他们旅途当中,当他们经过某些村庄和城市的时候,他们会举办相关的研讨会,与当地的年轻摄影师进行互动。我们可以看到他们对于人与社会的互动非常感兴趣,他们非常希望通过自己的艺术作品以及相关艺术活动带动社会以及政治的变化。

第七个案例是一个艺术家小组,名为The Propeller Group(成立于2006 年)。他们是非常年轻的艺术小组,由一位美籍越南人和两位越南艺术家共同组成,他们分别生活工作在洛杉矶和胡志明市。他们现在所从事的项目是聘请一家纽约的世界顶级的广告公司来帮助他们推出一部赞成共产主义的商业电视剧。这家公司非常有名,跟苹果和阿迪达斯等公司都有合作。这些视觉艺术家与视觉艺术以外的公司开展合作,他们尝试和广告公司合作来进行商业电视剧的制作,我们可以看出这超越了 原来艺术家所在的领域。他们的这件作品(TVC Communism,)最近在纽约新美术馆的“The Ungovernables: 2012 New Museum Triennial”中展出,也得到其他的三年展和双年展的青睐。

最后我要提一下瑞安·特雷卡丁(Ryan Trecartin)。他是一位非同寻常的美国艺术家。他不仅是制片人,而且还是装置艺术家和表演艺术家。他作为一个制片人的独特之处在于他的电影当中采用的不是专业演员,而是普通人。特别是他用到了自己朋友和家人,让他们穿上演出的服装在电影中进行叙述,来反映同性恋等亚文化的情况。瑞安关于同性恋亚文化的电影反映了洛杉矶、得克萨斯州以及迈阿密的情况,而他自己也正是以迈阿密为大本营开展工作。在瑞安的作品当中,他融合了来自不同领域的元素,比如电视成分、当代音乐、互联网上的广告、青年文化的很多方面等等。

我的讲座就讲到这里。我希望通过我这样一个策展人的视角给大家介绍让我感到振奋的艺术家的一些最新的发展情况。我觉得在我们看当今这个世界的时候,可以看到艺术确实是在融合不同的领域、不同的渠道、不同的视觉。现在的互联网模式,让艺术家和艺术家、艺术家和各个学科进行合作,其中有一些合作所创作的作品确实是非常令人激动的。我认为他们是在调研的基础上通过创作来反映当今世界的情况。我觉得互联网模式是非常激进的,是颠覆我们既有模式的一种新模式,它给我们带来新的挑战。我们原来把现代艺术家视为一种英雄,一种个人主义的英雄,他独自一个人在工作室开展创作。在现在的新模式下,艺术家成为人类整个合作模式或者社会工作室中的一个分子。

 

徐冰:下面是提问环节。

 

提问:请问,这个讲座题目“放下权威”与大众文化,它们两者之间究竟有什么关系?

 

亚历山大·孟璐:这是个非常好的问题。我认为这种放下艺术家权威的新模式,是用到了大众文化的。但是它不仅仅是大众文化,因为这样的艺术项目都是在博物馆背景下推出的。它涉及跨学科的互联网模式,同时它又必须要有博物馆这样一个背景才与大众发生互动,所以它有别于大众文化,它是对大众文化的诠释。

另一方面,我们可以看到在放下艺术家权威的项目当中,包含着许多对社会的批评,对政治结构、资本主义的批评。所以它不仅仅是反映了大众文化,更是在利用大众文化的工具,比如互联网等等,从而去批评社会,对社会的相关情况进行反思。所以它也是一种研究性的项目。

 

提问:我们最近在做的艺术项目叫作“未来货币之库”,有很多跨学科的人士参与,例如有经济学家、艺术家,还有一些平民大众。我们这个项目是想尝试用艺术的方式去理解金融系统。请问您认为这种网络化规模的协作,它的产生背景是不是跟互联网发展有关,以及与一些如危机经济学或者协作理念等有关?如果是这样的话,那么未来,艺术家是不是不再以个体的形式出现了,而可能以团队形式或者是很多人合作的形式出现,创作出的作品也不再是某一个人的,而是属于组织或整个团队的?

 

亚历山大·孟璐:我觉得您对我的讲座理解得非常好,而且你们这个新项目很有意思,我也特别想进一步地了解。我觉得你们的项目其实是对这种新模式非常好的一个诠释。这种现象并不是现在刚刚出现的全新现象,而且不仅仅是艺术家在开展这样的合作,在中国有很多别的领域的人也开展了这样的合作。跨学科合作是一种大趋势。

再说回您的问题。不是说我们作为艺术家就不要去画画了,不要去拍电影了,我只是说现在我观察到另外的一种艺术发展的趋势,这跟我们整个社会、政治、媒体发展的趋势也是非常一致的。我们经常说,艺术家要与时俱进,那么何为与时俱进?就是时代是怎么界定的,就要与时代一起进步。我们的时代一直与技术密不可分。在19世纪、20世纪、21世纪,我们经常用技术来界定我们是谁,我们怎么样开展工作,我们怎么样生活。所以我觉得这种互联网化的合作模式,其实是反映了我们在新技术、新世纪下,将以何种方式进行工作生活社交。

我认为,徐冰是全世界最早开始探索电脑技术应用的艺术家之一,他在很早的时候就在探索计算机语言以及相关技术的内容。他的作品《地 书》在 MoMA 展出时,我觉得这是此类作品的开先河之举。徐冰的《地书》也反映了刚才我提到的这种互联网模式,他跟电脑编程员还有其他来自非艺术领域的很多人开展了合作。在这样一个新的模式下,所有的参与者都是艺术作品意义生成的一部分。以前,无论是古典主义还是先锋派,都是艺术家先界定作品的含义,然后再把它以各种不同的方式传达出去,让观众去接受。也就是说,在过去的模式下,艺术家是高高在上的,艺术家和观众之间被人为地分成了不同的等级。但是在新模式下,在徐冰作品《地书》所反映出的这个模式下,艺术家和普通大众是平等的,即艺术家参与这个生成,同时消费者也参与这个过程。

提问:听了您的演讲后,您的意思是否是任何学科、领域的人都可以成为艺术家?如果是这样的话,那么艺术家的专业性在哪里?如果我们持续这样做下去的话,我们可能都不再需要艺术学校,因为我们每一个人都可以组织一个自己的艺术学校……对艺术发展来说,这是不是一种真正长远的趋势?

 

亚历山大·孟璐:我觉得您这个问题非常有趣,也是一个非常棘手的问题。其实,这个也是现代艺术的主要问题。早在 1913 年,杜尚就提出来过类似的问题。100 年前,人们对于艺术基本的认识发生了转移。杜尚就提出,在现代艺术当中是不是任何一个东西都可以称为艺术?比如说自行车的车架、一块玻璃等等。如果是这样的话,不光是需要从艺术家的角度来看某一个东西是不是艺术,更多的是要从观众的角度看这个问题,艺术家的专业性似乎就没有那么重要了。

其实我在谈到这个问题的时候,还是充满激情的。我刚才提到的那些艺术家,大部分我都接触过。我认为他们都是伟大的、了不起的艺术家。他们都充满哲学意味,而且也深入参与艺术生活的探讨和展示。他们在用知识和不同媒介以及相关的文化含义来进行创作。比如,他们会对印度人、越南人、非洲人、美国人等到底是什么含义、什么概念这些问题进行深入的艺术探讨。可以说,他们并没有回避问题,而是在用新媒介与新媒体来进行探索。

关于你刚才提出的传统艺术学院教育培训的问题,我认为像中央美术学院这样培养艺术家的教育机构,它的教育过程是完全可以跟这种新的艺术发展趋势和模式和谐共处的。跨学科、跨领域合作,可以作为一种工具和一种语言在教育中促进我们对艺术的探索。我觉得不管是作为策展人、美术馆馆长还是学校里的教师,我们所面临的是时代带来的一种必然的发展趋势,无论你是否喜欢这种发展趋势,它就在那儿,我们要做的事情就是充分利用工具和语言去顺应这种潮流来与时俱进。最后我想说的是,其实无论你喜欢还是不喜欢,变革总会发生。我自己是历史艺术学家,让我经常感到叹为观止的是,在不同的时代,艺术家总是走在时代的最前面,走在技术、政治和社会发展的前沿。我认为,变革来了,你是不能抵抗它的,而是要去理解这种变革到底怎么回事。艺术家要通过他的形式、他的语言来反映和展示这样的变化。

 

提问:我觉得艺术的发展依赖一个平台、一个载体来传播,这样可以让大多数人都能够欣赏它。我的问题是,您如何看待“互联网或者是参与者作为一个载体传播”这样的艺术形式?

 

亚历山大·孟璐:这是非常重要的问题。对于互联网模式,一个非常突出的特点就是,没有任何一种单一的艺术形式来主宰这些新的现象。在这样的新模式下,艺术不再是一种产生,艺术成为一种传播的系统,我们在这个传播系统当中会涉及许多不同的平台。我刚才举的例子当中,都会涉及互联网的成分。比如我们古根海姆博物馆宝马实验室的项目,它就有许多的网络成分,互联网是举足轻重的构思和展示要素。还有, 非洲的 Invisible Borders 小组里的艺术家每天更新博客,我们可以通过看 他的博客,与他们共行 1.3 万公里。同时所有这些项目都有在线的卷宗创设以及相关情况的记录,这些情况不仅仅是使得互联网成为艺术的拓展,同时也使得互联网成为有效的传播艺术的方式。也就是说,除了在博物馆,在双年展等背景下推出的艺术项目,大众也可以在网上接触这些项目。

 

提问:我有两个问题,第一个是比较实际的问题:既然这么多合作的项目都非常好,那么谁付这个钱来支持这些进行全球性的项目运作?第二个问题:您作为一个很知名的亚洲艺术史专家,您怎么看亚洲的精神、亚洲的传统对全球化当代艺术创作的贡献?

 

亚历山大·孟璐:您的第一个问题是非常实际的。由于涉及不同学科的合作,用不同的媒体和先进的技术,这些项目确实是要花钱。比如说,宝马实验室这个项目是我们古根海姆博物馆和宝马公司合作的,由宝马来赞助艺术家。这是一次令人非常振奋的合作的经历。其他我提到的一些项目,有的是受邀参加双年展、三年展而创作的,主办方会解决一些 资金的问题。比如说,CAMP 小组,他们的创作涉及索马里贸易的一些事情,所以他们在参加沙迦双年展的时候,是由沙迦这边帮助他们解决资金问题。另外还有一些项目是自己想办法解决筹资的问题。比如在上海的这个项目,他们吸引了很多志愿者,为他们的工程做一些免费的工作。对于艺术家来说,资金的确是非常重要的,但这并不是一个让我感到担心的问题,因为这些项目并不是商业化的项目。

我觉得您的第二个问题太大了。这 30 年来我一直在问这个问题,所以我今天不可能在这么一点时间里给您提供一个简洁的回答。不过,由于我是古根海姆相关人员,所以我在想到这个问题的时候,在面对这个问题的时候,我只需要对古根海姆博物馆负责。古根海姆博物馆是在1939 创立的,当时创立的初衷是要致力于欧洲艺术发展,后来也加入美洲艺术的成分。我的职责就是要拓展古根海姆的初衷。也就是说,我们要通过整合,通过颠覆它原来的一些做法,通过一些崭新方式的引入,或者是干预措施的介入,使得古根海姆博物馆对自己历史有一个全新的认识。但在这个过程中我会面临诸多障碍,我也不可能一下子把原来立足的基本面全部放弃,我要通过不同的方式来帮助古根海姆博物馆对自己历史产生新认识。我希望亚洲的成分,也就是所谓亚洲影子的引入,能够促成进这样一个转变。

 

提问:首先谢谢您给我们这样一个机会了解世界艺术发展的新动态。刚才听您谈到许多艺术家在做这种互动合作的艺术,我关心的是,作为受众来说,那些在社会中看到这些作品的人,包括美术馆的参观者,或者是这些国家本地的观众,他们在看到这些作品的时候,会有一些什么样的反应?也就是想请您谈谈这些作品的受众情况。

 

亚历山大·孟璐:这是非常好的问题。我举例说明一下,比如我们的宝马实验室的项目,它吸引到的媒体关注是在古根海姆博物馆历史上最多的,远远超过了其他的一些相关艺术项目所吸引的媒体评论,而且现在还在激发更多的报界评论。因为它涉及的方面太多了,学科也太多了,远远超越了美术的范围,有科学家、建筑师、城市理论规划家等都对这个项目有非常浓厚的兴趣。也就是说,我们的受众范围大大超过传统美术的受众范围。而且,我刚才也提到了这样的艺术作品它其实是一种活动,它有一段时间的实地展出,同时它也可以在网站上看到,所以它的传播范围比较广,受众们可以通过互联获得其中相关的知识、信息、体验等等。比起来传统艺术传播途径来说,这样的传播途径要广得多。

 

提问:在现在这种网络文化和协同合作背景下,我们艺术家除了艺术创作外,还会有哪些更新和变化?

 

亚历山大·孟璐:我觉得从基本面来讲,艺术家是诗人,一直是诗人,在这种新的模式下,艺术家还是要把相关的信息、记录内容、卷宗等等转成诗,把一种非理性的方式转换成诗的内容,艺术家的基本角色还是原来的这些东西,只是艺术形式、艺术创作方式和展示艺术的方式发生了变化。也就是说,现在的艺术创作更多类似于电影制作,或者是戏剧制作,涉及许多对媒体以及其他技术的应用,而艺术家本身的角色并没有多大的变化。我们认为艺术家过去在、现在在、未来也在帮助我们去理解社会的变化、心理的变化,并且指导我们看待和诠释这些变化。同时艺术家也是一面镜子,他能够折射这些变化,让我们更好地去思考。

 

徐冰:我补充说一些,由于互联网的出现,美术馆和这个世界的关系也发生了改变。过去,我们总认为美术馆系统是一个古典的系统,是欧洲城堡式的系统。我们盖一个房子,然后我们制作艺术品,最后放到美术馆的白盒子里去展览,让世界各地的人走进去看。而互联网的基本方式和美术馆正好相反,它是发散状的。这使得作为主流经验的美术馆同样受到新的挑战。刚才谈论的一些问题,也都跟这个矛盾发生关系。 今天亚历山大·孟璐的演讲和提问整个进行下来,像是我们大家共同完成了一篇论文。感谢在座的听众,听众的参与像是在进行一篇论文写作大纲的讨论,把这个问题一层一层地深入下去。谢谢大家。

 

 

 

 


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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
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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.

Event Booking Form

Name:
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Phone:
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ID Number:
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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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