安尼施·卡普尔对话霍米·巴巴

原文刊载于以色列特拉维夫艺术博物馆(Tel Aviv Museum of Art)展览图录,1993年版。


霍米·巴巴(以下简称霍):今早我在你的工作室看到许多未完成的作品,我想到一个问题:一个虚空,或者一个切口,需要多深、多黑,才能制造出恐惧或者迷惑?

安尼施·卡普尔(以下简称安):它必须是真实的、以不证自明的方式显示出来。这和它的制作方向息息相关,但与具体的制作方式关系不大。

霍:当你在雕塑语境内讨论“真实”,作为制作者,你的确制造了一个真实的切口,一个真实的虚空。

安:这么说有一些太具体、明确了。

霍:当我询问你一个切口需要有多深,或者一个空洞需要多骇人时,我是在尝试触及作品中的谜——这谜处于作为一个洞的虚空与被视为一个平面的虚空之间。这里就是恐惧与质询之所在。

安:当然,诡计是关于真实与物质的手法。真实的真实是心理层面上的真实,而诡计属于艺术的真实,它能够给予物体以“真实的”生命。我所做的要比这简单得多。真实是重量与质量,或是非存在与非质量。重要的是有多大深度、以何种角度、用何种形式——这些因素构成了一件作品,并决定了它的真实性。

霍:是的。谈论技术、阐释、意义——你可以把它看做与阅读或观看有关的“生产”——的问题在于,技术性的决断总被视为超验的价值或者目的性的程序:物质与精神的生产方式迷失在了美学的、顿悟的结果里。你谈到的一些决定,比如在石头上开一个口子或挖一个洞,是介于物质与精神之间的…

安:我认为,当我在一个实体挖出一个缺口时,它也以完全相同的方式作用于人的潜意识。当我决定在哪里做一个切口,这个切口需要多深时,这是一个结合精神与物质的内化的过程。几年前我做了一件作品,叫《托马斯的疗愈》(The Healing of St.Thomas),这件作品基于圣托马斯的救赎的故事:当托马斯伸出手触及显然是幻觉的伤口时,他找到了真实。眼睛与双手需要对方。只有当他触及伤口的那一刻,托马斯才得以被疗愈。被治愈的是他的疑惑。

这件作品只是一个在墙上的切口/伤口,它的形状像阴道,更接近整体而非死亡。它指涉了墙体之外的空间。当然,建筑在这里被隐喻为自我。我本可以在一块石头上完成这件作品,但如果这么做,就太实在、太具象了,反而不够真实,这将更多指向叙事,而不足以关乎精神性的潜能。

霍:难道精神性的潜能本身不是叙事吗?

安:当然是。但它没有明确的定义。

霍:在一面实体的墙上做一个伤口。这一行为转变了墙体的性质,使其不再是一个单纯悬挂物体的平面。你很好地通过一面墙模糊了“伤疤”这一物理概念与“疗愈”这一心理概念的意义。

安:我对自动生产、自我生成、在某种程度上显露的物体很着迷。我觉得这正是我1979年到83、84年做的那些色粉作品想要讲述的。还有一部分石头的作品也是。这些石头保持了粗糙的质感,就像采石场的石头一样,仿佛一切的干预发生于开采之前。当然事实恰恰相反,但这种语言正是我的兴趣所在。我希望否定双手、摆脱行动。

霍:而你的作品中吸引我的因素则恰恰相反。例如,当我看你的早期作品时,我觉得这些色粉颜料呈现出了一种装饰性与脆弱性,它们戏剧化的形式拒绝了一种自然主义的“真实”所指。而你刚刚谈到的东西很神奇:你说某物作为雕塑的潜力是自在的,借此你消除了制造它们的过程;你说你所做的不过是增强或具象化这种潜力。

安:这大概不是我想说的。我不是想表达米开朗基罗那个广为人知的观点——雕塑早已存在于石块之中。我想表达的是一个关于双手的浪漫的问题。物体能否作为生产的见证者?对我而言它们代表完全不相干的痕迹,生产实际上会阻碍观看。或许这是一个关于原始的瞬间的幻觉。

霍:是的。幻觉最有趣的地方是,人们能够意识到,幻觉创造自身并投射于它自身。没错,一些关于艺术的很浪漫的观点认为,物体生产的痕迹被物体的存在本身消化与掩盖了。而你的作品有趣的地方在于,它将观者置于一个模棱两可的位置。当我站在你的作品前,我所处的位置希望从某种角度肯定我的视觉,我的凝视反过来将我带入虚空的最深处。柔软的色粉使我无法将将视线停留于任何坚定的边缘线上,它被引领至作品的极点,随之投射在四散于作品周围的粉末上。

作为你的观众,我自己成为了另一种幻觉的一部分。不是关于纯粹起源的幻觉,而是关于奇观的幻觉,甚至是关于生产过程之物质性的幻觉,总之不是关于起源的。它涉及物体在自我与失去自我之间的转化。我觉得你的作品揭示了一些看不见的、难以言说的精神上的真实,它们有自己的形状、空间、符号……这也是为何我问了开头的那个问题:一个切口需要达到多深才能触及真实的恐惧。

安:真正令人恐惧的恐惧一定是人们带给自身的恐惧。

霍:不,不仅仅是这样。人们总是带给自己恐惧,关键是人们如何重新遭遇这些他们已经认识的恐惧,并突然意识到他们从未认识这些恐惧。

安:它在讲述或重新讲述那些事实上我们已经了解,却并未意识到我们已经了解的事物,让我们回到总是出乎意料的、崭新的原经验(proto-experience)。当我从“虚空”概念出发开始工作时,“空”、“无”成为我的主要关注点,而作品变得更接近精神性而非叙事性。作品与观者的关系变得更为私密。我在寻找一种空无的状态,当这种空无的状态足够充分时,它将像一面盲镜一般反射你的凝视。我在寻找一种特定的空无的状态,或许它受制于恐惧。

霍:你在粗糙的石头表面凿洞,石头上的每一道纹理、每一个平面、每一个切口都或多或少的指涉了其中的虚空。这正是它的美妙之处。但与此同时,你也在某种程度上定义了虚空,我无法仅仅在其中抛却我的焦虑,我不能只是去完全地去幻想它。

安:当然。

霍:并且,我觉得,你的作品中对主观臆断的定义的抵抗,为你的作品带来了十分有趣的张力。

安:这使我想到我比较后期的一件作品:《坠入地狱》(Descent Into Limbo)。恐惧在这里就是现实。作品中的空洞的直径与深度足以使站立在边缘的观众在物理与精神两方面迷失自我。在地狱里、在交界处。这不是一种在虚空中消化恐惧的体验——这是一种被调节的关于恐惧的体验。

霍:这件作品的一切都在诱骗你,使你恐惧:没有窗户的立方体空间、墓穴般的结构、狭小的入口、地上的空洞/虚空。光线从上方试探地、晦涩地照射进来。我对这个虚空与空洞的特性着迷。你赋予它们十分具体的特点,但它却通过不同的媒介制造回响。光线游移在四方的空间里,给虚空以动态。而恐惧就建立在这种动态之上。和石头的坚硬质感相对的脆弱的虚空、空洞内彻底的黑暗、更加脆弱的边界线共同制造了恐惧的时刻。但是,这恐惧在证明何物?这恐惧又是何物?

安:我希望我是知道的。

霍:你是知道的。

安:虚空的表现形式各有不同。当它表现为恐惧时,指向自我的迷失、非物向非我的转换。存在的概念在物中消弭,在非物中消弭,或者在身体中、在洞穴中、在子宫中消弭……我总是被恐惧的概念吸引,被眩晕、坠落、被拽入其中的感觉吸引。这是一个崇高的概念,它逆转了关于光明的图景。这是一种内外倒置的翻转、一个黑暗的幻象。恐惧是黑暗,在这里,你的眼睛无法给你确信,你的手渴望触及。在这里,只有想象力有可能逃出生天。

霍:假设非物与非我之间只有一种特定的关系,那么,也仍然存在一种方法使虚空变得有效:擦除个体的历史,转向一个更为集体的认知。在这里,“非”单纯指涉否定。它可以成为一个更具公共性的、关于象征的认识。这些无意识的因素不易在日常事物中被辨识,但依然是互为主体的空间的一部分。在这个空间里,记忆的抹去和主体意识的压抑成为了一个认知的契机,为社群和与之相关的历史解读制造机会。

安:一个非主体的虚空。一个处于主体与非主体、认知和混沌之间的空间。

霍:这使我想起一句歌词:“肯定积极,否定消极,但是不要去招惹那位叫‘中间’的先生。”

安:我觉得这就是我们在做的事情:招惹。

霍:是的,我们在招惹中间(in-between)、招惹虚空、招惹非在(not-there)。

安:谁在,谁不在,谁在之间。

霍:在我的一些书里,我将其称为第三空间。这种空间不是两类已有空间的整合。我感到你的作品在这类空间中有巨大影响。批评家们在看到你的作品后总是好奇,哪一部分属于印度,哪一部分属于西方?内部与外部的边界是什么?正如你之前提到的,我觉得我们正在做的就是扰乱这些空间、时间和文化之间的边界。我们更加愿意去思考,为何在传统的批判思维当中,人们只能够通过二元论或两极化的处理去思考文化的多样性。

安:通过排除法来定义中间性(in-betweeness)这个概念要容易得多。

霍:简单来说,我们是否可以认为,这种空间的策略与你在作品中运用的空间策略是一样的。没有单纯的阴暗与光明的对立,没有平滑的黑色与褶皱的岩石的对立,或者脆弱的色粉表面与坚硬的内在的对立。更多的时候,虚空不可避免地显现在存在物的表面。为了给这形状和虚空寻找一个正向的表述,我们不能采用以往那些寻找正向空间或事物的方法。人们常常认为,阐述一个思想依赖于肯定而非否定——别告诉我们一件事物不是什么,告诉我们它是什么。但这太串通一气了,它将这类思想和已知的历史知识、文化概念牢牢绑定在一起。所以我时常反问人们,为什么我不能将事物描述成否定的集合?为什么你不能接受,有一些东西就是修辞的,并且正式地处于“在”与“或许在”之间?哲学的传统总是喜欢正向描述事物,因此我想,或许我们可以试着从反面去思考问题,但这并不意味着就困在这一种思维方式上。

安:同样,所有的雕塑传统都专注于正形,而负形只依赖于与正形的一种象征性关系。过去几年里,我一直在尝试摆脱形,去处理非形。

霍:我想把居间空间(in-between space)带入我们作为与特定历史相连的艺术家/写作者的立场。移民的历史、来自印度的历史、我们作为文化多元体的历史。我想我们构成了一个生产意义、符号、论争的特定流派。我们的轨迹来自于殖民文化里未被公允的世界主义。我想它和文化传统与种族界线的混合有关,居间空间中真正发生的不是两个已知传统的简单交流(不论意见一致还是存在分歧),而是第三空间的开放,它揭示了自我或某种文化起源的双重性。我想将这种空间与非在或者虚空的出现相联系。它不是对已知的两极、阶级、或者价值的颠倒或转变。在这个空间中,我们只会进一步意识到边界或身份的复杂协调。

安:在两者之间,或是崭新的(空间)。

霍:海德格尔有一个关于桥的名言——不是河岸定义了桥,而是桥定义了河岸。创造性的挑战在于处理交汇的路口、制造跨越、穿越虚空、连接文化。

安:这很好地说明了你我的印度性以及……

霍:我们的混合性。

安:混合性持续地重新定义了印度性。

霍:也持续地重新定义了英国性。

安:没错,而且这是一个很重要的状态。如今的印度艺术似乎接受了它的印度状态,而我觉得我们处在另一个奇怪的立场,拒绝接受这样或那样的状态。

霍:是的,有一些作家、批评家并没有注意到这一点,因此,我希望在这里强调,我们并没有将我们的境遇凌驾于在印度工作的印度艺术家和批评家之上。

安:对。

霍:这种在间隙空间”(interstitial space)中的工作并不仅限于移民艺术或离散艺术(the art of diaspora)。但艺术生产,或者说文化生产,在这种混杂的环境中显得更为形象与明显,因为它们是精神上的幸存者。由于没有回到过去(压抑、记忆、幽灵般的执念)的方法,人们需要在物质的现实中、对精神上的现实(幻觉、欲望)做协调,在这里,人们需要对自己在社会与文化上的自我构建负责,对对于他者(the Other)的认知负责。

安:是的,精神上的再协调。它肯定了真实是受现实处境影响的、不断的表面上的再定义。在这种情况下,一个人将一直是印度人,又从来不是印度人。我们可以说,至少每一次的再定义都是截然不同的。这是我们不确定的处境所要求的、我们需要定义的态度。

霍:正是如此。

安:我想进一步说明一个观点,尽管它令我有些不快。当我肯定中间性时,我很想说,这个说法不存在中间地带。我关于虚空的作品是一个诗意的、精神性的概念。中间性是关于文化确定性而非文化模糊性的陈述。如果我们将虚空视为中间性的,那么,它不是处于两个已经定义好的文化现实之间,而是指它的过渡性,是潜在的、将来的、生发的、可能的。

霍:我认为,重要的是,居间空间质疑了文化命名的方式——为一个属性赋予一个特定、固定的名字。居间空间揭示了为性、性别、种族命名不过是一种权力行为,而不是真正为了指向主体或客体本身。

当我在谈命名的时候,我是在指涉一个古老的问题:身份建构中的不断重复——个人身份、文化身份、性别身份。我们要如何理解一个文化语境中的因素在另一个语境中的重复?当不同的文化符号或能指在“间隙”中交互,我们如何在并发的时空框架中应对它们?我们如何理解这交互——不是将其作为简单的闭路循环,而是作为创造的启蒙、一种既不存在于过去也不安定于现在的形式或显现?无论被多少次陈列在历史性的过去、或是某个特定的政治性的现在,每一次的重复都要求我们重新思考语境与意义的问题——通过制造标记、开凿空洞、以及决定在石头的何处开凿这个洞。特殊性即是历史性的状态。

我想问问你作品中关于命名与重复的转化过程。例如,你有一件作品叫《天使》(Angel),另一件在日本制作的作品叫作《龙》(Dragon)——他们都是有翅膀的生物。一个是天堂的守护者,是光明;一个是大地的恶魔,是恐惧。它们都是着色的石头,而创造这件作品的过程也是对这些石头的自然安置状态的转换——《天使》来自采石场,《龙》来自河床。在《天使》这件作品中,板岩的形状就像静卧的羽毛,涂绘它们的过程好似夺取了石头的重量,在石质中注入不确定性,使其抬升……

安:让它们飞翔。

霍:你以某种方式使物体摆脱了它们原有的权力属性,为它们注入了其他特性。

安:是的。在这里,石头的性质被色彩占据,颜色的肯定在场与空间缺席相区别。颜色是一种非常醒目的显现,但同时也能表现为飘渺、空无、或者表象之外的梦幻空间。

霍:每一次的重复都是对作品的再造……在《天使》中,石头几乎被完全压制,似乎要升向空中。

安:不仅仅是名称将这两件作品放在了不同语境。《龙》来自我一直以来对日本与中国园林、山石的兴趣。最终我在日本找了一些石头,尽管它们实际上来自于中国北部。这些石头有趣的地方在于,它们被安置与此,由于侵蚀的作用,身体上形成许多很深的孔洞。因此,尽管被与《天使》如出一辙的方式粉刷涂抹,《龙》似乎拥有一个黑暗的,介乎身体、洞穴、野兽的中间形态。它以一种特定的方式处于轻与重、有机与无机之间。蓝色是一种奇特的无机色,尽管你能在自然中看到它们。它既属于大地的又不是大地的。在这具象的化身中,《天使》重新显现为《龙》。在人间与地狱之间,作为人间与天堂之间的反面。

霍:既是肌体的,又是山川的。

安:我同意你关于这两件作品相似之处的看法。

霍:不仅仅是相似之处,还有重复中显现的不同之处。

安:是的。我创作了许多关于虚空的作品,但每一件都不同。它们似乎都围绕虚空这一概念,为此保持着某种状态,以不同的术语表示它们,并呈现不同的外表与形态。

霍:我总认为,最有威胁的事情和最具创造性的冲动来自于弗洛伊德所称作的“对微小差别的自恋”(Narcissism of small differences)。忽略掉视觉符号的相似,我觉得这解释了为何每一次的重复、每一件作品的历史、语境、审美、状态永远无法从过去的角度被学习。

解读它们的规则存在于一种模糊的空间中。它给予作品以自身的在场,同时使它们以变幻的精神、转换为其他媒介及文化系统之潜力接受阐释。

如你所知,它们被称为“虚空”作品。但我认为,或许是时候重新思考这一称呼了。它们不仅仅指引我们看向虚空,并且这观看的方式没有使你忘却任何其他关于表象、边缘、深度、死亡、时间、传统以及区分这些维度的棘手事物。我认为“虚空”一词并不能很好地表达这种体验的复杂性,也不能重新思考它所要求的历史与雕塑空间。

安:的确如此。


1993年6月1日


译 | 胡炘融

校 | 卢禹凡

图片来自于网络


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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.

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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