Zhou Jirong & Ye Nan : Between the Heavenly and the Human

  • Dates:2019-03-12 - 2019-05-04
  • Location:Hall B, 2nd Floor, CAFA Art Museum
  • Opening:2019-03-22 15:00
  • Organizer(s): Central Academy of Fine Arts
  • Organizer: School of Fine Arts,CAFA CAFA Art Museum
  • Aacademic Adviser: Fan Di’an
  • Directors: Ma Lu Zhang Zikang
  • Curator: Liu Libin

Preface

Since 2010, CAFA Annual Fine Arts Nomination Exhibition has been held for eight consecutive years, which has increasingly become the annual brand academic exhibition of CAFA and received widespread attention and acclaim from inside and outside the academy. The nomination exhibition is not only an affirmation to the participating artists’ ability of teaching and creation but also a demonstration of their artistic research methods. As a teacher of the Central Academy of Fine Arts, how to grasp the relationship between teaching and creative research, closely combine excellent education and artistic creation, find a balance between the two and make them complement each other, is particularly important in today’s college education. Zhou Jirong and Ye Nan, the two artists in this exhibition, respectively teach in the Department of Printmaking and Foundation Program. They are simple and honest, with rigorous scholarship and substantial achievements, and respected by their students and applauded by their peers. The word “Shi (honesty)” is the high quality of the academic tradition of the CAFA and is fully reflected in them. While possessing profound artistic skills, they start from real life and perceive life from different perspectives, elevating the feelings about life into cultural concern and meditation. Their lasting enthusiasm for artistic creation makes them continually extend this kind of experience, thus integrating various elements such as time and space, individuals and society into their creation. They share the common characteristics of having clam thoughts on problems and philosophized artistic language and upholding rare and valuable tranquility of art in today’s complex social psychology.


Mr. Zhou Jirong has been teaching in the Department of Printmaking for many years, and he has long been engaged in the teaching and researching of printmaking creation and technique language, from which he accumulated rich experience in teaching and individual artistic practice in silkscreen prints, comprehensive engravings, and multimedia materials. His artistic practice derives from the most genuine feelings and thoughts about real life. Since the 1980s, he has been sensitive to the changes in cities and looked for history in the old urban neighborhoods. From the initial “city”, “gate” to the recent “mirage” and “dream”, his series of works represent his concern, thoughts, and nostalgia for the changing cities in different periods. In the process of repeated reflection and examination, he has constantly broken through the limitation of materials, and created works that leads to a recall of history from reality, with images of memories gradually becoming clear in the expression of urban color interlacing the ancient and the modern within a blurry atmosphere, leaving behind a long “Cappella of the History”. Zhou Jirong attempts to employ prints to bring us out of the dilemma of city life, and let people think about living and being in his works.


Professor. Ye Nan has studied in Russia for many years and developed solid modeling capabilities. In teaching, she integrates the advantages of the Soviet-Russian art modeling system and summarizes her own unique teaching ideas. She also injects continuous thinking into artistic creation. Based on the distinctive and meticulous observation and understanding of life as well as her own feelings, she strives to dig the great power of life and spirit through the times. Her works express the existence of life and the power of nature with tense even strong form, calm and rich tone, and heavy strokes, which triggers people’s thinking in the human-nature interactions, enables them to have a dialogue with the era as well as themselves through the works, thus to reflect on the “Limit of the Loneliness”. With profound academic qualities, her works are always based on reality yet beyond reality, particularly showing a female artist’s deep consciousness and high aesthetic quality of artistic language.


The two artists, based on their thinking of life and reality, pursue excellence in the contemporary era and make full use of the two “traditional” media of print and oil painting from a unique artistic perspective, endowing them with new meanings, which can be considered as a kind of good harvest.


Fan Di’an

Director of Central Academy of Fine Arts

Since 2010, CAFA Annual Fine Arts Nomination Exhibition has been held for eight consecutive years, which has increasingly become the annual brand academic exhibition of CAFA and received widespread attention and acclaim from inside and outside the academy. The nomination exhibition is not only an affirmation to the participating artists’ ability of teaching and creation but also a demonstration of their artistic research methods. As a teacher of the Central Academy of Fine Arts, how to grasp the relationship between teaching and creative research, closely combine excellent education and artistic creation, find a balance between the two and make them complement each other, is particularly important in today’s college education. Zhou Jirong and Ye Nan, the two artists in this exhibition, respectively teach in the Department of Printmaking and Foundation Program. They are simple and honest, with rigorous scholarship and substantial achievements, and respected by their students and applauded by their peers. The word “Shi (honesty)” is the high quality of the academic tradition of the CAFA and is fully reflected in them. While possessing profound artistic skills, they start from real life and perceive life from different perspectives, elevating the feelings about life into cultural concern and meditation. Their lasting enthusiasm for artistic creation makes them continually extend this kind of experience, thus integrating various elements such as time and space, individuals and society into their creation. They share the common characteristics of having clam thoughts on problems and philosophized artistic language and upholding rare and valuable tranquility of art in today’s complex social psychology.


Mr. Zhou Jirong has been teaching in the Department of Printmaking for many years, and he has long been engaged in the teaching and researching of printmaking creation and technique language, from which he accumulated rich experience in teaching and individual artistic practice in silkscreen prints, comprehensive engravings, and multimedia materials. His artistic practice derives from the most genuine feelings and thoughts about real life. Since the 1980s, he has been sensitive to the changes in cities and looked for history in the old urban neighborhoods. From the initial “city”, “gate” to the recent “mirage” and “dream”, his series of works represent his concern, thoughts, and nostalgia for the changing cities in different periods. In the process of repeated reflection and examination, he has constantly broken through the limitation of materials, and created works that leads to a recall of history from reality, with images of memories gradually becoming clear in the expression of urban color interlacing the ancient and the modern within a blurry atmosphere, leaving behind a long “Cappella of the History”. Zhou Jirong attempts to employ prints to bring us out of the dilemma of city life, and let people think about living and being in his works.


Professor. Ye Nan has studied in Russia for many years and developed solid modeling capabilities. In teaching, she integrates the advantages of the Soviet-Russian art modeling system and summarizes her own unique teaching ideas. She also injects continuous thinking into artistic creation. Based on the distinctive and meticulous observation and understanding of life as well as her own feelings, she strives to dig the great power of life and spirit through the times. Her works express the existence of life and the power of nature with tense even strong form, calm and rich tone, and heavy strokes, which triggers people’s thinking in the human-nature interactions, enables them to have a dialogue with the era as well as themselves through the works, thus to reflect on the “Limit of the Loneliness”. With profound academic qualities, her works are always based on reality yet beyond reality, particularly showing a female artist’s deep consciousness and high aesthetic quality of artistic language.


The two artists, based on their thinking of life and reality, pursue excellence in the contemporary era and make full use of the two “traditional” media of print and oil painting from a unique artistic perspective, endowing them with new meanings, which can be considered as a kind of good harvest.


Fan Di’an

Director of Central Academy of Fine Arts

Artworks

Photographs

Related essays

“周吉荣&叶南:天人之际”策展人语 ...

2019-03-12

每位艺术家的叙事模式和其“时空观”密切相关。时空的选择注定了他的视野和立基点,还有观察视角和表现方法,题材和语言在作品中汇集,成为“他之所以是他”的特征。时间上,可以追溯远古,也可以直面当下;空间上,可以仰望天际,也可以近观身边。时空交叉,不仅反映了艺术家当下状态,也折射出其精神维度的指向。对特定时空的选择与艺术家对历史和当下,近处和远方的态度有关。何时何地可以栖居?何时何地可以对话?艺术家给出的选择和作为对话成果的艺术作品都在冲击、丰富乃至更新着我们的理解,我们的感受,或许这正是艺术创作的价值所在。周吉荣和叶南作品的一个重要特征就是与时下语境的疏离。这种感觉的出现和他们的“时空观”关系密切。具体来说,主要是他们的选择的历史时段和历史观,以及他们的空间关注以及对空间的不同解读所引起的。“遥远的天际线”、“永恒的曙光与余晖”、“穿越时空的建筑遗迹”是在两位艺术家作品出现最多的意象。岁月流转对永恒企及的破坏,建筑遗迹勾起的对曾经辉煌的遐想,日出日落对人世间聚散离合的漠然。在所营造的这一环境中,周吉荣和叶南所表现出的态度显然不同:周吉荣在综合材料作品中突出“空寂”的在场,借助特种纸与笔摩擦而出的的斑驳陆离痕迹,消减历史的褶皱,塑造出一个“无人之境”,演奏着“历史的清唱”。《流景之三》  周吉荣   综合材料 88x136cm  2011年叶南则是通过顶天立地人物的塑造,构成一个个大大小小“十字架”的稳定结构,来抵抗时空给她带来的惊恐和敬畏。“有人在场”并没有带来热闹,反而更加凸显了“孤寂的极限”。《屁孩》之二  叶南  200x200cm  2017年在上世纪九十年代“后学”的冲击下,“大历史观”遭遇了前所未有的质疑。解构之后的碎片化,平视之下的去神圣化随处可见。反映在美术界,突出表现在“新生代”艺术、政治波普艺术的出现。与此相悖,周吉荣和叶南的创作却和“大历史观”相呼应。两相对照,各有其独到之处,当下两位艺术家相对罕见的叙事模式也给观众提供了一个不可多得的案例。之所以以“天人之际”做为展览名,一是因为两位艺术家作品中的视觉构图,二是其作品相对于“现实性”所表现出的“超越性”。在这样的思考脉络中,联系余英时先生在《论天人之际》所提到的“内向超越”问题,可能对两位艺术家的艺术创作状态会有更多的体会和感悟。司马迁《报任安书》有云“究天人之际,通古今之变,成一家之言”,期待两位艺术家的展览可以给观众提供不同的视觉经验和认知维度。刘礼宾中央美术学院副教授2019年3月 More
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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.

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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.

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