Off Camera·Moving Image CAFA Art Museum

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: “场外 · 移动影像”即将开展 | 12位西班牙艺术家构建的视觉对话

2025-11-13

场外 · 移动影像展览时间：2025年11月14日-12月28日展览地点：中央美术学院美术馆三层B展厅主办机构：西班牙外交、欧盟与合作部西班牙国际合作发展署西班牙驻华大使馆中央美术学院美术馆深圳文泽创展文旅发展有限公司2025年11月14日，《场外 · 移动影像》展览将于中央美术学院美术馆三层B展厅开展。本次展览由西班牙外交、欧盟与合作部，西班牙国际合作发展署，西班牙驻华大使馆、中央美术学院美术馆，以及深圳文泽创展文旅发展有限公司联合主办；由当代艺术研究员苏珊娜·桑斯策展，汇聚了十二位西班牙艺术家，旨在为西班牙电影与当代艺术提供全新的解读视角。"场外"这一标题指向电影创作中的一种手法：画面之外的元素，反而决定了视觉体验的走向。展览通过四大主题板块，引领观众穿越西班牙视听艺术的历史与当代实践。从奠定西班牙先锋传统的重要电影导演——路易斯·布努埃尔、卡洛斯·绍拉、佩德罗·阿尔莫多瓦和维克多·埃里斯，到当今西班牙艺术与电影领域最具国际影响力的代表人物——阿尔伯特·塞拉、伊萨基·拉库埃斯塔、洛伊斯·帕蒂尼奥、卡贝略/卡塞勒、伊茨亚尔·巴里奥和帕特里夏·埃斯基维亚斯，再到运用新技术与人工智能进行实验性创作的艺术家——丹尼尔·卡诺加尔和安普罗·萨尔德。最终，展览在电影、影像艺术与装置之间构建了一场对话，邀请观众思考当代社会中影像的扩展属性：它不再仅仅属于屏幕，更已融入空间、记忆与观者自身。展览将持续至12月28日。展览活动预告本次展览邀请展览策展人、西班牙艺术家和中国的影像艺术家和学者们，围绕本次展出的精彩作品，展开关于中西影像艺术的对话。时间：11月14日（周五），下午2点地点：中央美术学院美术馆3层B展厅参与方式：请扫描下方二维码预约“ 部分参展作品ALBERT SERRA / 阿尔伯特 · 塞拉Bullfighting《斗牛术》202514’ISAKI LACUESTA / 伊萨基 · 拉库埃斯塔Strokes《笔触》20074’LOIS PATIÑO / 洛伊斯 · 帕蒂尼奥Metallic Shadow in the Dream《梦中的金属阴影》201822’ITZIAR BARRIO / 伊茨亚尔 · 巴里奥Robota MML《ROBOTA MML》202317’16’’CABELLO/CARCELLER / 卡贝略/卡塞勒A voice for Erauso .Epilogue for a Trans Time《为埃劳索而发声 · 跨性别时代的尾声》2021-2228’15’’PATRICIA ESQUIVIAS / 帕特里夏 · 埃斯基维亚斯Cardinal Cactus《卡尔东 · 卡迪纳尔》202038’AMPARO SARD / 安普罗 · 萨尔德Haptic Self-Portrait《触觉自画像》2021DANIELCANOGAR / 丹尼尔·卡诺加尔Orbital《轨道》2025场外 · 移动影像展览时间：2025年11月14日-12月28日展览地点：中央美术学院美术馆三层B展厅主办机构：西班牙外交、欧盟与合作部西班牙国际合作发展署西班牙驻华大使馆中央美术学院美术馆深圳文泽创展文旅发展有限公司策展人：苏珊娜 · 桑斯参展艺术家：佩德罗 · 阿尔莫多瓦、伊茨亚尔·巴里奥、路易斯·布努埃尔、卡贝略/卡塞勒、丹尼尔·卡诺加尔、维克多 · 埃里斯、帕特里夏·埃斯基维亚斯、伊萨基·拉库埃斯塔、洛伊斯·帕蒂尼奥、卡洛斯·绍拉、阿尔伯特·塞拉、安普罗·萨尔德主编 / 何一沙责编 / 杜隐珠
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: An Immersive Installation Experience by Spanish Artists | How Should We View and Reflect on Images?

2025-11-16

Exhibition SiteWith light and shadow as a bridge, transcending mountains and seas, the exhibition "Off-Camera·Moving Images" opened as scheduled at the CAFA Art Museum on November 14th. Co-organized by the Art Museum of CAFA, the Spanish Agency for International Development Cooperation, the Embassy of Spain in China, and Shenzhen Wenze Chuangzhan Culture & Tourism Development Co., Ltd., this exhibition is curated by contemporary art researcher Susana Sanz. Bringing together twelve Spanish artists, it aims to offer a fresh perspective for interpreting Spanish cinema and contemporary art.The key guests attending the opening ceremony included: Lü Pinjing, Vice President of the Central Academy of Fine Arts; Marta Betanzos, Ambassador of Spain to China; Juan Mu, Cultural Counselor of the Embassy of Spain in China; Sandra, Cultural Officer of the Embassy of Spain in China; Susana Sanz, Curator of this exhibition; Ampro Salde, Representative of Spanish Artists; and representatives from the embassies of various countries in China. Also present were experts and scholars specializing in the history of foreign fine arts and moving image art from the School of Arts of Renmin University of China, the School of Arts of Peking University, the Central Academy of Drama, the School of Photography of Beijing Film Academy, the China National Film Museum, and the School of Design and Art of Beijing Institute of Technology; renowned artists and theoretical researchers active in the field of moving image art; as well as representatives from various departments and administrative offices of the Central Academy of Fine Arts.Speech by Marta Betanzos, Ambassador of Spain to ChinaMarta Betanzos, Ambassador of Spain to China, stated that this exhibition continues the long-standing and sound cooperation between the Embassy of Spain in China, the Central Academy of Fine Arts and the CAFA Art Museum. It also marks the first time that works by twelve internationally renowned Spanish artists are collectively exhibited in China. These artists jointly explore the boundaries of moving images and their technical carriers, and the spirit and narrative methods embodied in their creations are highly aligned with the ideological spirit and passion for creative exploration of China's younger generation. Against the backdrop of moving images becoming a shared language of the era, this exhibition is not only a tool for art to promote understanding, inspire inspiration and co-create the future, but also strengthens the bond of cultural exchange between China and Spain. The questions raised by the works regarding the present and the future will also trigger more thoughts and dialogues.Speech by Lü Pinjing, Vice President of the Central Academy of Fine ArtsLü Pinjing, Vice President of the Central Academy of Fine Arts, stated that this exhibition, with "Off-Site" as its central theme, brings together masterpieces by a group of Spanish artists. It reexamines the boundaries and possibilities of "moving images," not only demonstrating the innovative synergy of contemporary Spanish art but also serving as a vital bridge for cultural exchange between China and Spain. The Central Academy of Fine Arts has long been committed to exploring digital media and video art, and this exhibition is highly aligned with the Academy’s teaching and research priorities. It is not merely an art exhibition, but also an academic discourse on moving images. We believe that video art is no longer a subsidiary of technology; instead, it has become a crucial tool for perceiving the world and reflecting reality. May "Off-Site: Moving Images" be like a seed, taking root and sprouting in the cultural soil of China and Spain, and inspiring dialogues among countries regarding vision, geography, and culture.Jin Jun, Director of the CAFA Art Museum, hosted the opening ceremonyGroup Photo of GuestsThe exhibition is presented through a commemorative immersive installation experience, where moving images break free from traditional forms and reside in a broader spatial context. At the intersection of the visual and the material, as well as cinema and contemporary art, these works invite us to view and reflect on images in an alternative way—even perceiving them as habitable spaces. This bold, transformative, and constantly exploratory stance has always been woven into the spiritual pulse of Spanish art.The exhibition unfolds across four chapters:Chapter 1 It opens with a focus on several pioneers of video art—Luis Buñuel, Carlos Saura, Pedro Almodóvar, and Víctor Erice—who deconstruct cinema and its ritualistic nature, uncovering new forms of projection and experience.Chapter 2 This chapter explores the grammar and narrative of moving images, showcasing Albert Serra’s radical breakthroughs, Isaki Lacuesta’s experimental spirit, and Lois Patiño’s visual poetics.Chapter 3 It guides us toward images as builders of identity, presenting the critical and personally distinctive artistic explorations by Patricia Esquivias, Cabello/Carceller, and Itziar Barrio.Final Chapter This chapter looks toward the future: images and the screen itself have become core themes of creation, inviting audiences to experience the technological experiments and interdisciplinary research achievements of Daniel Canogar and Amparo Sardá.Notably, artist Daniel Canogar’s generative work Amalgama Prado is on display in the lobby of the museum’s first floor. It is recommended that visitors view it from the corridor on the fourth floor.The exhibition will run until December 28, 2025.The scene of the opening ceremony" Some of the exhibited worksALBERT SERRA Bullfighting202514’ISAKI LACUESTAStrokes20074’LOIS PATIÑOMetallic Shadow in the Dream201822’ ITZIAR BARRIORobota MML202317’16’’CABELLO/CARCELLER A voice for Erauso .Epilogue for a Trans Time2021-2228’15’’PATRICIA ESQUIVIASCardinal Cactus202038’AMPARO SARDHaptic Self-Portrait2021DANIELCANOGAROrbital2025Off-Camera·Moving ImageExhibition Period: November 12 – December 28, 2025Exhibition Venue: 3B Gallery, CAFA Art MuseumOrganizersMinistry of Foreign Affairs, European Union and Cooperation of SpainSpanish Agency for International Development CooperationEmbassy of Spain in the People's Republic of ChinaCAFA Art MuseumShenzhen Wenze Chuangzhan Culture, Tourism and Development Co., Ltd.CuratorSusana SanzParticipating ArtistsPedro Almodóvar、Itziar Barrio、Luis Buñuel、Cabello/Carceller、Daniel Canogar、Víctor Erice、Patricia Esquivias、Isaki Lacuesta、Lois Patiño、Carlos Saura、Albert Serra、Amparo Sardáeditor-in-chief / He Yisharesponsible editor / Du Yinzhueditor / He Yifei
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: Moving Image | Re-Viewing the "Off-Camera" Dimension of Spanish Video Art

2025-11-27

From November 12 to December 28, 2025, the exhibition "Off-Camera · Moving Image" will be on display at 3B Gallery of the CAFA Art Museum. This exhibition is co-sponsored by the Ministry of Foreign Affairs, European Union and Cooperation of Spain, the Spanish Agency for International Development Cooperation, the Embassy of Spain in China, the CAFA Art Museum, and Shenzhen Wenze Chuangzhan Culture and Tourism Development Co., Ltd.Curated by contemporary art researcher Susana Sanz, the exhibition brings together twelve Spanish artists. It aims to provide a new perspective for interpreting Spanish cinema and contemporary art.Exhibition SiteExhibition SiteThere is an area on the screen that eludes the gaze. It is an uncertain, throbbing realm, trembling beyond the boundaries of the visible. This is where the "Off-Camera" resides: unseen yet defining meaning; invisible yet breathing within the image itself. The exhibition "Off-Site · Mobile Image" originates precisely from this vision: to regard the moving image as a constantly expanding organism—one that spreads continuously, escapes endlessly, and keeps pulsating even after the screening ends.012025.11.12-12.28————————————Beyond the Cinema: The Genealogy of Moving ImagesFrom a historical perspective, cinema has always excelled at expressing the "Off-Site". Since its inception, it has accidentally or thoughtfully discovered that the unseen is just as powerful as the visible. The first chapter of the exhibition features several pioneers of video art, who deconstruct cinema and its ritual nature, revealing new forms of projection and experience. The screen knows how to speak through blank spaces. However, the "Off-Site" is no longer merely a technique or narrative device in "classic" cinema; it has become an ontological condition of contemporary moving images.Exhibition site"Mosaic" (2025) is an introductory video installation created specifically for this exhibition. Its material is sourced from clips of renowned Spanish films, and it plays on a loop across five screens simultaneously.List of FilmmakersExhibition siteLuis Buñuel(Calanda, 1900 — Mexico City, 1983)One of the most important figures in 20th-century Spanish and international cinema. He had a close relationship with the Surrealist movement, and his early works created in France, such as Un Chien Andalou and L'Âge d'Or, caused a public outcry with their subversive imagery. After his period of exile, he engaged in film creation in Mexico, making more commercial works. These works often blended realism with surrealist imagery, critiquing bourgeois values and hypocrisy. After returning to the European film industry in his later years, he successively released masterpieces such as Viridiana, Belle de Jour, and The Discreet Charm of the Bourgeoisie, further establishing his international reputation.Exhibition siteExhibition siteCarlos Saura(Huesca, 1932 — Madrid, 2023)Carlos Saura is a renowned Spanish director, cinematographer, and writer, whose works are famous for their profound interpretation of the Spanish national spirit. He is particularly skilled at presenting Spain’s historical traditions—such as Flamenco art—through theatrical forms. He embarked on his directing career in the late 1950s while teaching at the official film school. Saura’s works have always focused on social reality: they not only pioneered new forms of dance films (especially those centered on Flamenco) but also included internationally influential works in his later years. His representative masterpieces include cinematic classics such as The Hunt, Anna and the Wolves, Carmen, and Tango.Exhibition siteVíctor Erice(Biscay, 1940)Víctor Erice is a renowned Spanish film director and screenwriter. He studied film directing at the Official Film School in Madrid and graduated in 1963. In the early stages of his career, he worked as a film critic, production assistant, and created short films, among other things. Later, he directed his debut feature film and masterpiece, The Spirit of the Beehive (1973). This poetic and symbolic work, set in post-war Spain, is hailed as a treasure in the history of Spanish cinema. His subsequent works include The South (1983) and Dream of Light (1992), etc.Exhibition sitePedro Almodóvar(Calsadilla de Calatrava, 1949)One of the most internationally renowned film directors in contemporary Spain. His style is characterized by intense colors, melodramatic techniques, a spirit of rebellion, and complex narratives, often exploring themes such as desire, family, and identity. He rose to prominence during the "Movida Madrileña" in the early 1980s. His representative works include Women on the Verge of a Nervous Breakdown (1988), All About My Mother (1999), Talk to Her (2002), Volver (2006), Pain and Glory (2019), and Parallel Mothers (2021).022025.11.12-12.28————————————Reconstructing Narratives: Exploring New Grammars of Mobile ImagesIn the creations of the three artists in Chapter Two, contemporary images have become fluid and permeable, no longer confined to mere viewing—viewers enter the works, and the works surround the viewers. In this interaction, the boundaries between film and art installations gradually dissolve. Each of the artists, through their unique language, explores different dimensions of the "off-site" space—not an absence, but a prefiguration of potential narratives.Albert Serra, "Bullfighting", 2025, 14’, duration 00:53Albert Serra transforms time into a dense substance. In Bullfighting (2025), he deliberately slows down the pace. The camera is positioned and waits, allowing scenes to unfold at their own rhythm. Slowness is not merely a delay but a device for contemplation. His extreme close-ups of bullfighting dissolve the ritualistic nature of the sport into the mundane; the imagery of death reflected in the bull's eyes brings the contained emotions to an extreme. History seems like a murmur coming from that generous "off-stage" space, faintly resurfacing through the quiet conversations of the bullfighting team. In the persistent filming of bullfighting, time and again, lies the vitality of Serra's poetics: images hold secrets, like unrefined gifts, inviting viewers to gaze at them for a long time. The camera does not explain, yet it continues to convey.Isaki Lacuesta, "Pinceladas", 2007, 4'In brush stroke (2007), Isaki Lacuesta unfolds a hybrid practice: the film multiplies itself here and interpenetrates with artistic forms such as flamenco. Through fragmented and silent flamenco images, he presents an idea: the "off-screen" can be a dialogue of sounds, embedded in and echoing with the images, forming an unconventional harmony. The singer's voice is completed in the viewer's imagination. The images do not pursue completeness; they are willing to become a field of interpretation.Lois Patinho, "Metallic Shadows in Dreams", 2018, 22', duration 01:44If Sierra pushes images to the intensity of myth, and Lacuesta leads them into the realm of essays, then Lois Patiño proposes another way of dealing with marginal things—where nature becomes a conversational partner. In Metallic Shadows in Dreams (2018), the "off-screen" is geological, with a rhythm as slow as erosion. His images dance with such substances as water, mist, and the traces of time on sand. In this installation, the images transform into endless whispers, conversing with light and shadow, flickering and changing. To view his work is to immerse oneself in a patient listening to the breathing of the visual landscape.The experience of this exhibition invites us to rethink that moving images are not confined to their replication. The artists gathered in the exhibition guide us to trace their tracks. The "off-Camera" is therefore not a boundary, but an open attitude that leads us to reimagine what it means to see and what the visual world is. To see in the present is to accept that every visual field has a reverse side: images will always leave blank spaces, whispers, and a promise of continuing existence beyond ourselves.Curator.————————————Susanna SanzShe holds a PhD in Contemporary Art History from Complutense University of Madrid and a Master's degree in Art Theory from Tsinghua University in Beijing. She has worked at the Louvre Museum in Paris. In 2010, she received a scholarship from the ICO Foundation to pursue further studies at Peking University, which marked the beginning of her ten-year professional career in Beijing. During her time in Beijing, she served as the Cultural Coordinator at the Cervantes Institute and also worked as a visiting lecturer at the Central Academy of Fine Arts, teaching the history of Spanish art. Since 2016, she has been the Artistic Director of the Spanish Moving Image Festival in Madrid. In 2020, she returned to Spain and joined the Reina Sofía National Art Centre Museum as a Cultural Activities Coordinator. Currently, she is a member of the curatorial team for museums under the Spanish Ministry of Culture.Off-Camera · Moving ImagesExhibition Time: November 12 - December 28, 2025Exhibition Venue: 3B Gallery, CAFA Art MuseumOrganizers:Ministry of Foreign Affairs, European Union and Cooperation of SpainSpanish Agency for International Development CooperationEmbassy of Spain in ChinaCAFA Art MuseumShenzhen Wenze Chuangzhan Culture, Tourism and Development Co., LtdChief Editor / He YishaResponsible Editor / Du YinzhuEditor / Yan Yuxi
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: Off-Camera｜When Moving Image Leave The Screening Room And Enter The CAFA Art Museum...

2025-12-04

From November 12 to December 28, 2025, the exhibition "Off - Camera: Moving Image" will be on display at 3B Gallery of the CAFA Art Museum. This exhibition is co-hosted by the Spanish Ministry of Foreign Affairs, European Union and Cooperation, the Spanish Agency for International Development Cooperation, the Embassy of Spain in China, the CAFA Art Museum, and Shenzhen Wenze Chuangzhan Cultural Tourism Development Co., Ltd.Curated by contemporary art researcher Susanna Sanz, the exhibition brings together twelve Spanish artists, aiming to offer a brand-new interpretative perspective on Spanish cinema and contemporary art.展览现场展览现场Moving images no longer depend on dark screening rooms to exist. Images have escaped the confines of the cinema, projected onto walls, bodies, and the very fabric of the world. Today, images can fold in on themselves, be installed as immersive works, and be projected onto architectural surfaces; they become objects, they become events. With this expansion, what lies "off-site" also takes on new forms and finds new audiences. The works gathered here reveal to us that "Off-site" is not merely a technique, but a form of visual politics: a gesture that allows the marginalized or the spectral to find representation.032025.11.12-12.28————————————————Covert Identities: Moving Images as Manifestos"Off-site" determines not only what is visible, but also the creators of images and the subjects being viewed within them. In Chapter Three, the works of several artists jointly interrogate the representational mechanisms that shape the narratives of visual identity.帕特里夏·埃斯基维亚斯，《卡尔东·卡迪纳尔》，2020，38’In Cartón Cardinal (2020), Patricia Esquivias treats the archive as a living, reconfigurable document. She weaves images into an oral narrative unfolding over time, weaving together anecdotes and history. Her voice often serves as an "off-site" voiceover, acting as a thread of thought that deconstructs the power structures embedded in the collective memory of communities. This voice, like a critical intuition, pries open cracks. The narrator does not merely explain; she converses with and questions the content presented. In this way, the hidden things outside the framework of history return to the scene with a force that demands recognition.卡贝略/卡塞勒，《为埃劳索而发声·跨性别时代的尾声》，2021-2022，4K视频转换为高清格式，双通道视频装置，28’15’Since the 1990s, the artistic duo Cabello/Carceller has interrogated the normative representational structures of the body, gender, and identity. In Speaking for Elvira: Epilogue to the Transgender Era (2021–2022), moving images serve as a stage for reclamation: voices silenced by history are now multiplied. Their stance on visual politics is unequivocal: they continuously subvert conventions of gender and representation until the paradigms themselves are forced to acknowledge the multiplicity of voices. In this way, Cabello/Carceller transform "Off-site" into a tool of liberation.伊茨亚尔·巴里奥，《ROBOTA MML》，2023，4K视频，62’展览现场Itsiar Barrio focuses on the conditions of image production: how technology, economy and society shape not only the content presented, but also the modes of presentation. In ROBOTA MML (2019–), she combines performance, installation and film to interpret the tension between body worship and machinery. Her long-term projects and multi-party collaborations construct networks of meaning, in which every element—gesture, sound, screen—is a component that sustains the system of visibility.042025.11.12-12.28——————————————The Future of Moving Image: Image as an Artistic MaterialContemporary interpretations of "Off-site" cannot evade questions about technology. The hybrid coexistence of pixels and painting, algorithms and sculpture has reshaped the very way images are constituted. The artists in this exhibition explore this transformation from their respective perspectives—perspectives that are distinct yet share common ground. Technology does not alienate us from human experience; instead, it reconstructs it. Daniel Canogar and Ampro Sáldez are working precisely within this threshold, where images are no longer merely surface appearances but have been transformed into tangible entities.丹尼尔·卡诺加尔，《阿马尔加玛·普拉多》，2019，生成式视频投影丹尼尔 ·卡诺加尔，《轨道》，2025，4K屏幕，生成式软件，实时数据展览现场Daniel Canogar regards the screen as a living fabric. His generative works, such as Amalgama Prado (2019) and Orbit (2025), are real-time evolving light systems driven by pulses and data. The images within flow, adapt, and respond to the environment like digital rivers. Rooted in the traditions of kinetic art, abstract expressionism, and installation art, Canogar creates works that interact with architecture and public spaces. The screen is not merely a technological ornament, but an organism—reminding us that data has a physical form and information has a pulse.展览现场Ampro Sáldez starts from the material world and moves toward the digital realm. Her works navigate the boundaries between the body and the screen, gesture and programming. In her recent projects, she explores artificial intelligence as a tool for extending perception, rather than a substitute for human sensitivity. Tactile Self-Portrait (2021) poses a core question: Can images be touched? Can they feel or be felt? Sáldez answers through her perforated sculptures. In her installations and moving images, emptiness takes center stage—every hole is an echo of touch, a tremor that transforms technology into skin.Beyond the frame lies that which precisely sustains the image: the silence that renders sound audible, the shadows that make light visible. In this exhibition, every artist engages with this tension—between the visible and the invisible, between form and its extensions. Brought together, the works form a cartography of contemporary vision: at "Off-Camera: Moving Images," cinema is no longer merely an art of projection, but an art of existence; the audience becomes inhabitants, and images transform into territories. The exhibition forges a dialogue between cinema, moving image art, and installation, inviting viewers to reflect on the expansive nature of images in contemporary society: they no longer belong solely to the screen, but have merged into space, memory, and the viewers themselves.Curator.Susanna Sanz拥有马德里康普顿斯大学当代艺术史博士学位，以及北京清华大学艺术学理论硕士学位。她曾在巴黎卢浮宫工作，2010年获ICO基金会奖学金赴北京大学进修，由此开启了在北京长达十年的职业发展历程。在北京期间，她担任塞万提斯学院文化协调员，并兼任中央美术学院客座讲师，讲授西班牙艺术史。自2016年起，她担任马德里西班牙动态影像节艺术总监。2020年，她返回西班牙，加入索菲亚王后国家艺术中心博物馆，担任文化活动协调员。目前她是西班牙文化部博物馆策展团队成员。She holds a PhD in Contemporary Art History from Complutense University of Madrid and a Master's degree in Art Theory from Tsinghua University in Beijing. She has worked at the Louvre Museum in Paris. In 2010, she received a scholarship from the ICO Foundation to pursue further studies at Peking University, which marked the beginning of her decade-long career development in Beijing. During her time in Beijing, she served as the Cultural Coordinator at the Cervantes Institute and also worked as a visiting lecturer at the Central Academy of Fine Arts, teaching Spanish Art History. Since 2016, she has been the Artistic Director of the Spanish Moving Image Festival in Madrid. In 2020, she returned to Spain and joined the Museo Nacional Centro de Arte Reina Sofía as a Cultural Activities Coordinator. Currently, she is a member of the curatorial team at the Museums under the Spanish Ministry of Culture.场外 · 移动影像展览时间：2025年11月12日-12月28日展览地点：中央美术学院美术馆三层B展厅主办机构：西班牙外交、欧盟与合作部西班牙国际合作发展署西班牙驻华大使馆中央美术学院美术馆深圳文泽创展文旅发展有限公司主编 / 何一沙责编 / 杜隐珠编辑 / 晏宇希
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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

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

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

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

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.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(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

(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.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

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

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

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.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(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

(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.

I have carefully read and agree to the above provisions.