卡普尔的分层宇宙

安尼施·卡普尔是当代著名的艺术家,他之所以闻名于世是与他在世界各地的公共艺术作品密切相连的。对于中国读者,这是一个有趣而值得思考的艺术家及其现象,甚至他的意义超越了具体的作品。


安尼施·卡普尔是谁

首先,卡普尔是在艺术界为人所知,但我们注意到,他70年代到英国留学和生活创作,正赶上了英国战后的文化艺术再次飞跃的年代,70年代至80年代是英国的艺术在国际上风起云涌的时期。其内在的发展逻辑是社会生活与战后政治生态发生巨大变化与转型,大量国际移民、不同族裔的艺术家进入到西方(欧美)的艺术群体中,他们既学习、吸收西方的艺术及其历史知识,也将自身的文化特质和基因带入到他们的新的异域的艺术实践中。他们的艺术既是西方现代艺术的逻辑延续,同时也是变化了的全球艺术,特别是后者正成为新的艺术现象,跨越了单一的、分离的甚至对立的西方艺术界域,而成为全球共有、共享、共知的一种艺术,它无法以单一文化特质、单一语言特质、单一内容特质来框定何谓全球艺术。

这也是我们整体地看卡普尔的感受。他的作品从70年代开始,就深刻地烙有战后的艺术的印迹,甚至是20世纪的现代主义艺术的余旭。如70年代的那些木质雕塑装置类,简单的结构,粗糙的拼合,散漫地放置在空地上,如无人看管的废弃场,其实它们是整个60年代打破艺术边界的探索的延续,是艺术理念在20世纪被重新塑造的结果。如果没有这些20世纪的现代主义艺术的顽强的探索和实验,不可能在艺术现场产生这样的创作手法和作品以及它们与环境的关系。这里面包含了诸多的新艺术的理念和追问。

而卡普尔从印度留学英国、在英国生活工作本身是20世纪后半叶突出的全球艺术潮流,看似平淡无奇,实则是全球艺术的诞生与艺术新内涵的开始。看很多的评论卡普尔的文章,都说到他秉有印度的文化特质,如他应用印度宗教仪式上使用的彩色粉末颜料,高纯度,浓烈,厚实,具有自然的神秘感。但如果不是他具有现代艺术的知识,是不会对这些绵延了千年的仪式材料有感触的,基本上是不会将它们转换为艺术创作的材料和手段的。显然,所谓传统与当代的汇合和转换是以现代的知识为基础的,甚至在转换的过程中不留下传统的踪迹,只有共性、共感的物质。所谓物质与精神的契合关系并不是简单的东方神秘主义,而恰恰从中发现了60年代以来的极少主义艺术所致力追求的单纯、非叙事、自然和谐,才使得这些源自印度的物质色粉获得了当代艺术的生命力。东方和西方的打通是以现代知识和自然本源的信念为核心的,刻意悬置所谓的东方主义或西方主义,都无助于发现当代艺术创造的可能,也无法悟透艺术的本质。

所以,现在的卡普尔既不是简单的印度艺术家,也不是单纯的英国艺术家,而是一个艺术家,因为今天说一个艺术家的身份,是一种全球概念,是一种人类经验共享的艺术家身份,它们具有超越族裔和文化孤立主义的价值和指向,这也是当代的艺术家为各地区、各国、各种文化体所接纳的缘由。卡普尔之所以在世界各地接受了诸多的公共艺术项目的委托创作,是与共性的艺术的性质有关的,它不是一个文化对抗的概念,而是融合、包容、汇合的概念。例如,他被选择创作芝加哥的云门,又被选择创作911纪念作品,都是以艺术家身份在进行共性的永恒价值的创作,而非宣示、宣扬,这也是我们不同地区的人从他的作品都能看到、感受到的一种普遍性所在。

因此,卡普尔来了,就是一个理解超越性意义的机会,在看他的作品之外,去思索一下何以是卡普尔以致卡普尔何以成为世界都喜爱的艺术家。


形式主义者说

为了准备卡普尔的展览,翻阅了若干篇文字,大都谈到了他的作品的形式问题。可以说,这是现代主义艺术以来一直被探索的问题,它至关重要,甚至决定了一个艺术家的历史地位。由此来看卡普尔,他一脉相承于现代艺术的形式主义美学。它源自德国包豪斯的生活简朴观和节奏,再转为20世纪现代主义的纯粹性和媒介性,进而是极简主义的美学观。

我们看卡普尔的作品,可以很清晰地发现这样的一个脉络图。从其早期的物品装置到中期的色彩颜料作品再发展到镜面装置(雕塑)以至于他的综合装置,其机制与原理无不渗透着现代主义到当代艺术的气息和形式。可以说,卡普尔作品的谱系本身就是现代世界艺术的一个缩影。他对于今天的艺术创作和理解当代艺术具有启示意义,也就是说,艺术作为一种视觉创造,从其诞生到现代社会的发展,呈现出这种各自分别发展演绎到世界汇流、综合创造的过程,今天的艺术没有不是吸收多种文化艺术的营养而发展的,这是文化艺术的历史趋向,也是文化融通之中的再创造的实际状况,这是历史与自我建构的双向驱动的结果。

首先,形式与结构问题是现代主义以来的艺术的核心问题。形式成为自我意识与自我身份的标志,这种自我意识既是历史的产物,也是现代社会进程的结果,也是全球化的趋势。形式的核心是自我意识,而自我意识的表征则以形式呈现,而关于形式的认识和实践又彰显了文化的历史性、当下的社会政治性以及身份意识的积淀。形式有时间的逻辑演绎,也有时间的断裂痕迹;它既有一种地域形式的绵绵流传,也有多种形式吸收、杂糅后的新形式裂变。形式并不是简单的点、线、面的叠加,它的一横、一撇积淀着久远的历史痕迹,而这些痕迹让后来人迷恋、效仿、流传。形式是世界构成的组织形态,越是能够理解世界,也就越是能够创造形式;古往今来,形式千变万化,都蕴含着人类对世界的认识和理解。所谓圆形、方形、矩形、三角形、梯形、锥形、立方体、圆柱体、球体等等,无一不是世界的模拟和提炼。对它们的艺术创作和应用表现为历史的进程和差异,也表现为地域和文化的差异,也因此在历史上产生了不同的对形式的偏爱。个展形式也各有寓意和象征,东方讲究“方、圆”,象征天圆地方,而希伯来文化中的矩形、十字形则象征了创世纪、重生;现代社会以来,则各种单纯静穆的形式又全方位地呈现世界的关系和结构,三角之稳定、锥形之上升、方形之力量、圆形之高尚、矩形之崇高、直线之通灵、短线之急迫、曲线之波折、弧度之奥妙,等等,现代艺术几乎汇聚为一则形式的神曲。

但是,艺术进入到后现代乃至脱胎为“当代艺术”之名之后,倏忽间好像不待见形式了,甚至以形式主义来批判艺术。这就使得历史的车轮颠簸起来,使得从事艺术研究与实践的人不知所从。其实,越是个性的艺术家,越是有思考能力的艺术家,越不会对话语的结论盲从,但也不是一味沉浸在老套的形式里。这里面就有了智慧与主见之分,也有了新的时代的发展之别。事物总会重复的,历史的年轮也会复始,但不会在原点上重复,而是在前进的路上有新的发现和探索。这就是新形式的当代意义,也是卡普尔的艺术所展示出来的。卡普尔发现了空间作为形式的新的可能性,这是由平面的形式进入到三维的形式的逻辑演绎的结果,也是当代的艺术具有综合表现力的必然归宿。

空间形式是打开卡普尔艺术作品的锁钥,它由表及里、由外而内,它既有静观的表象形式,也有沉思感悟的内在形式,空间是具有观者体验的形式,并非静态,这是形式意义扩大的当代追求,也是后现代之后的一种艺术的新实验。纵观卡普尔的作品,是不断追求变化的空间表现,从静态的镜面到动态的红蜡转动以致到巨大的空间占据,都是空间形式的多种表现和放大。卡普尔是深刻理解形式与空间以及建筑和场地的关系的,他既有单一作品的形式形成自为的空间,也有让作品占据建筑空间,以建筑空间的形式来构成他的作品空间形式,两相映照,相得益彰。卡普尔的进一步发展是在公共空间的现场来完成自己的作品,这种体量和表现集中地表达了他的艺术语言、艺术观念和艺术成就。或者谓卡普尔代表了艺术介入公共空间的典范,这是他所言的“后工业语言”,也就是在完成了现代工业之后,当代社会已经进入了多重语境和多重思想交汇与杂糅的阶段。其中的艺术发生了从形式到材料以及内在的技术的转换,卡普尔不仅使用传统的石材、钢材,也使用现代的乙烯基材料,特别是使用了今天的先进技术来加工制作他的作品。他的创作不再是简单的手工业雕刻或手工打磨,而是广泛应用当代的先进技术、新材料,甚至专门使用一些特别的材料来创作。这样,就将当代的艺术创作与科技进步紧密结合起来,事实上也是扩大了艺术表现力的范围和手段,这也是艺术观念演绎递进的反映。


宇宙论者说

在我们这个时代,人们对事物的状态喜欢用第几个版本来描述,如G4、G5、2.0、4.0等,那么对于当代艺术,20世纪前如果是1.0版本,那么进入到21世纪就应该是2.0版本,实际上是说,对于像卡普尔这类艺术家的创作,应该在更大的历史维度上来观察,笼统用艺术或当代艺术都不足以描述它们的特质。就以卡普尔首次在中国举办个展来说,一定会联想到“在此、此刻”的中国当代艺术语境,也一定是从更广泛的后全球时代来阅读他的艺术,这就不得不进入到“当代艺术2.0”来言说他及其艺术。

描述20世纪的当代艺术,学界还使用现代主义、现代性、后现代、前卫、观念性、物性、现场等宏大话语,但是到了21世纪如继续沿用这些话语,则不能涵盖我们当下所遭遇的艺术。事实上,今天的艺术是汇聚了历史上的一切艺术基因而综合变异出的一种状态,其新的状貌非古典可比拟、非现代可掌握,虽然当代一词是其通用方便前缀词,但内在的实质还是无法一一涵盖。这也是今天面对“当代艺术”命名时候的诸多困惑缘由。

卡普尔1998年在英国伦敦的海沃德美术馆举办第一次大型个展的时候,邀请印裔美国学者霍米·巴巴给他撰写展览文章,[1]霍米·巴巴和卡普尔同为印裔,又都在国际上从事学术研究或艺术创作,各有独立的世界思考。他们都跳出了一地一族的范围,以共性的话题来面对全球的普遍性问题,又以独立的思考来做出自己的回应,既有霍米·巴巴的后殖民理论,其思考之深度与影响遍及世界,而卡普尔又以其艺术创作遍及国际,没有用简单的地域符号去确立自我身份,在这一点上,卡普尔是后全球时代的共性艺术家,而非全球化语境下的身份论艺术家。

在此,霍米·巴巴论卡普尔从空间的空与无处安放的“无”之间的比较来讨论卡普尔,这就比简单地用佛家的虚空论要来得当下,也同时用了当代的知觉现象学理论,这样就自然地进入到国际化的话语系统交流中。同样,卡普尔制造“空”并非是阐释佛教的空无论(或心经),而是视觉呈现(制造)时间与空间对人的知觉的影响,是以现代的理论来探索新的表达方式,这种表达形式的运用是包含了现代的国际化艺术语言,是在现代的物质材料中找到可以表达当代人的神秘的、心理的以及精神的体验的东西,自然他们都深受东方的思想影响,也不乏用梵语的词汇去比拟现代词语。但他们都是以今天的感知方式和艺术表述方式来制造视觉新世界。

事实上,作为国际化的艺术家,卡普尔对欧美的艺术相当了解,从波洛克到纽曼到格林伯格、罗塞林·克罗斯到希腊神话、欧洲历史都如数家珍,从他的谈话、从他对自己作品的命名上,都显示了他的世界视野和世界知识以及哲学思考,如《在世界的边缘》(At the Edge of the World)、《圣托马斯的治愈》(The Healing of St.Thomas)、《一朵花,像死亡一样的戏剧》(A Flower,A Drama Like Death)、《对红色实体的亲密部分的反思》(To Reflect an Intimate Part of the Red)、《好像在庆祝我发现了一座山盛开为红色花朵》(A s if to Celebrate I Discovered A Mountain Blooming with Red Flowers),这些名字都不是随意的,卡普尔经常是在作品完成后才取名字,那么此时他内心涌动的是去赋予他的视觉作品一种涵义,以思考的广度和可思考性来丰富他的视觉创造。他2002年在泰特现代美术馆的《玛耳绪阿斯》(Marsyas),以体量之大震撼了观众,但它的名字更有深意。玛耳绪阿斯是希腊神话中的林中人,善吹笛子,与音乐之神阿波罗比赛,失败后被惩罚,这是欧洲美术史很多画家的题材,卡普尔用这个名字来指他那件巨大的占据了整个泰特现代美术馆的涡轮大厅的作品,显示了人无法认识一个事物的全貌,无论在哪个位置都是窥其一貌而非全部,同样神圣的力量是不可挑战的。

这一切恰恰说明了福柯所言的《词与物》的文化历史关系,对于当代艺术家,他们并没有离开词与物的人文历史多远,而是在2.0时代更近了,不是疏远了我们和知识的关联,而是更加迫切地吁求我们接近它。我们生活的这个宇宙不是异化的外部世界,它就在我们的存在里,在我们的每一个层面的践行中。当我们言说分层的宇宙,即是谓,要看到多层的世界,既有表象的,也有体验的,更有神圣的东西。在当代艺术2.0中,艺术不是仅仅眼睛看到的什么就是什么,而是眼睛看到了,还需要身体体验,但实质上是心灵在看。

作者|王春辰(中央美术学院美术馆副馆长、教授)

原文发表于《美术研究》2020年01期

编辑|郑丽君

注释

[1]Homi K.Bhabha, “Anish Kapoor: Making Emptiness”, in Fifty Years of Great Art Writing, Hayward Gallery Publishing, London, 2018, pp.246-259.

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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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