Leandro Erlich: The Confines of the Great Void

  • Dates:2019-07-11 - 2019-08-25
  • Location:CAFA Art Museum
  • Opening:2019-07-10 16:00
  • Organizer(s): CAFA Art Museum
  • Sponsors: Tianyu Culture Group Galleria Continua
  • Chief Consultant: Fan Di'an
  • Art Director: Su Xinping
  • Curator: Andrés Duprat Zhang Zikang
  • Academic Consultant: Wang Chunchen
  • Executive Curator: Gao Gao Yi Yue
  • Assistant Curator: Li Zhiyuan

Preface

I like to introduce myself as a conceptual artist working in the realm of the real and perception. My subject matter is reality, symbols and the potential for meaning. I am committed to creating a body of work--especially in the public sphere--that opens itself to the imagination, subverts normality, rethinks representation and proposes actions that construct and deconstruct situations in order to disrupt reality. Speaking generally, my work functions as a narrative experience deployed in the public arena. I build visual stories from daily life that evoke an ordinary set of circumstances, both rooted in reality and shared experience, but that don't function as expected. I like to develop projects that push the conceptual threshold of the audience, and I enjoy working with a variety of media and modes of expression. My work encompasses installations, objects, sculptures, videos and even painting. I create structures that trigger images and ideas that, in turn, point towards new realities. I like to consider these pieces as relational devices that inspire interaction and play amongst the viewers. I understand art as a medium for cultivating new approaches to understanding the world--physical, mental, political, symbolic.   

- Leandro Erlich

I like to introduce myself as a conceptual artist working in the realm of the real and perception. My subject matter is reality, symbols and the potential for meaning. I am committed to creating a body of work--especially in the public sphere--that opens itself to the imagination, subverts normality, rethinks representation and proposes actions that construct and deconstruct situations in order to disrupt reality. Speaking generally, my work functions as a narrative experience deployed in the public arena. I build visual stories from daily life that evoke an ordinary set of circumstances, both rooted in reality and shared experience, but that don't function as expected. I like to develop projects that push the conceptual threshold of the audience, and I enjoy working with a variety of media and modes of expression. My work encompasses installations, objects, sculptures, videos and even painting. I create structures that trigger images and ideas that, in turn, point towards new realities. I like to consider these pieces as relational devices that inspire interaction and play amongst the viewers. I understand art as a medium for cultivating new approaches to understanding the world--physical, mental, political, symbolic.   

- Leandro Erlich

Artworks

Photographs

Related essays

Early Bird Ticket | Leandro Erlich: The Confines of the Great Void ...

2019-06-25

On July 11, an illusionary, deconstructed, subversive world of visual art will unfold in front of you. More

Leandro Erlich ...

2019-06-26

Leandro Erlich, photo courtesy Guyot Leandro Erlich was born in Argentina in 1973. He lives and works in Buenos Aires and Montevideo. Over the past two decades, his work has been shown internationally and featured in the permanent collections of major museums and private collectors. He enjoys particular renown in Asia, and his most recent exhibitions at the MORI Art Museum (Tokyo, 2017) and the HOW Art Museum (Shanghai, 2018) have attracted hundreds of thousands of visitors. On June 26th, his new show Próximamente opens at the Ruth Benzacar Gallery in Buenos Aires, followed by LIMINAL, a major anthological exhibition at MALBA (Buenos Aires) on July 4th (2019). On July 10th, 2019, he will become the first non-Chinese artist to occupy the entire exhibition space at the CAFAM (Central Academy of Fine Arts, Beijing), China’s premiere museum, with the show The Confines of The Great Void. Erlich began his professional career at 18 with a solo exhibition at the Centro Cultural Recoleta in Buenos Aires and, after receiving several fellowships (El Fondo Nacional de las Artes, Fundación Antorchas), went on to study at the Core Program, an artist residency in Houston, Texas (Glassell School of Art, 1998); there, he developed his signature installations Swimming Pool and Living Room. In the year 2000, he participated in the Whitney Biennale with the work Rain, and in 2001 he became Argentina’s representative at the 49th Venice Biennale with Swimming Pool, a landmark piece that is part of the permanent collection at The 21st Century Museum of Art of Kanazawa (Japan) and the Voorlinden Museum (Netherlands).Leandro Erlich, Rain (1999), Whitney Museum of American Art, Whitney Biennale (2000)Steel frame, wood wall board, sliding glass window and casing, faux brick interior, water circulation system, sound and strobe light installationDimensions variable© Martin Sichetti, courtesy Leandro Erlich StudioHis public works include La Democracia del Símbolo, a joint intervention in the Obelisco monument and MALBA Museum that captivated the city of Buenos Aires in 2015; Maison Fond marked the UN Climate Change Conference in Paris and is on permanent display at the Gare du Nord (Nuit Blanche, 2015);thecelebrated installation Bâtiment (Nuit Blanche, Paris, 2004) has been reproduced in countries across the globe (France, The UK, Australia, Japan, Argentina, Ukraine, Austria); in 2018, Ball Game was commissioned by the IOC to commemorate the Summer Youth Olympics in Buenos Aires. Port of Reflections has been exhibited at the MMCA (Seoul, Korea, 2014), at MUNTREF (Buenos Aires, 2016) and at the Neuberger Museum of Art (New York, 2017). Palimpsest is on permanent display at the Echigo-Tsumari Art Triennale (Kinare, Japan, 2018). Leandro Erlich, Lost Garden (2009), Museum of Latin American Art, Long Beach, California (2010)Metal frame, brick, window, mirror, light and artificial plantsDimensions variable© Jon Endow, courtesy Leandro Erlich StudioLeandro Erlich, Lost Garden (2009), Galería Nogueras-Blanchard, Madrid (2013)Metal frame, brick, window, mirror, light and artificial plantsDimensions variableCourtesy Galería Nogueras-BlanchardErlich has received numerous awards, including: The Roy Neuberger Exhibition Award (NY, 2017), the Nomination for the Prix Marcel Duchamp (Paris, 2006), the UNESCO Award (Istanbul, 2001), El Premio Leonardo (Museo Nacional de Bellas Artes, Buenos Aires, 2000),el Fondo Nacional de las Artes (Buenos Aires, 1992).As a conceptual artist, his work explores the perceptual bases of reality and our capacity to interrogate these same foundations through a visual framework. The architecture of the everyday is a recurring theme in Erlich’s art, aimed at creating a dialogue between what we believe and what we see, just as he seeks to close the distance between the museum or gallery space and daily experience. More information: His work has been shown in numerous individual exhibits which include: El Museo del Barrio, New York (2001); MACRO Museum of Contemporary Art of Rome (2006); Centre D’art Saint Nazaire, France (2005); PS1 MoMA, NY (2008); Galleria Continua, San Gimignano, Italy (2008); Galería Luciana Brito, Sao Paulo (2009); MOLAA, Long Beach (2010); Sean Kelly Gallery, NY (2011); Galería Ruth Benzacar, Buenos Aires (2007, 2012, 2019); Galería NoguerasBlanchard (2013); Barbican Center, London (2013); 21st Century Museum of Contemporary Art, Kanazawa, Japan (2014); MMCA, Seoul, Korea (2014); MALBA, Buenos Aires (2015); ZKM, Germany (2015); Fundación Telefónica, Madrid, Spain (2017); Neuberger Museum of Art, New York (2017); MORI Art Museum, Tokyo(2017/2018); HOW Art Museum, Shanghai(2018); MALBA, Buenos Aires, Argentina (2019); CAFAM, Beijing, China (2019). Group showsinclude: la Nuit Blanche de Paris (2004); Palais de Tokyo, Paris (2006); MuseoNacional Centro de Arte Reina Sofía, España (2008); Fundación PROA, Buenos Aires (2009, 2013); Galleria Continua in Les Moulins (2011); Centre Georges Pompidou, Paris (2011); Centquatre, Paris (2011); MOT, Tokyo (2013); Shanghai Art Festival (2013); Spiral Garden, Tokyo (2017); Maison de l’Amérique Latine, Paris (2018); Power Station of Art, Shanghai (2018), etc.He has participated extensively in biennales, among others: the 1st Bienal Mercosur (1997); the 7th Havana Biennale (2000); the 7th Istanbul Biennale (2001); the 3rd Shanghai Biennale (2002); the 1st Busan Biennale, Korea (2002); the 26th Sao Paulo Biennial (2004); the Venice Biennale (2001/2005); the Echigo-Tsumari Art Triennial, Japan (2006/2018); Palais de Tokyo, Paris (2006); Liverpool Biennial (2008); Singapore Biennial (2008); 2ndBienal de Montevideo, Uruguay (2014); XIII Bienal de Cuenca (2016); Bienal Sur, Buenos Aires (2017).His work is featured in many private and public collections, including: The Museum of Modern Art, Buenos Aires; The Museum of Fine Arts, Houston; Tate Modern, London; Musée National d’ArtModerne, Centre Georges Pompidou, Paris; 21st Century Museum of Art Kanazawa, Japan; MACRO, Rome; The Jerusalem Museum; FNAC, France; Ville de Paris et SCNF, Gare du Nord, France; etc. More

影响制造者雷安德罗•埃利希个展“太虚之境”邀你来体验! ...

2019-07-10

雷安德罗·埃利希:太虚之境Leandro Erlich: The Confines of the Great Void当你在美术馆看到一个实物大小的游泳池,惊奇水下的人们如何泰然地向岸上的你打招呼;当你面对一件理发店的镜子,试图在镜子中寻找自己的映像时,它却并不在那里;或者透过一扇室内的窗子,望向郁郁葱葱的室外花园时,对面不同方向的窗子上却同时投出了自己的身影……一连串的问号向你涌来,这便是一场经典的雷安式的幻象,从最初的不适到逐渐习惯,再转变成探索后的喜悦。雷安的作品已经吸引了全世界范围内众多观众的参与和体验,并且经由互联网和社交媒体的发酵,而被更广泛的观众群体所了解,激发了世界各地观众源源不断的灵感,产生了无数的社交媒体照片和互动参与。在雷安的作品里,诸如门、窗、楼梯、电梯和走廊等具有单一功能的建筑元素和花园、教室和试衣间在内的日常空间被作为了“隐喻”,人们很容易在这些日常化的场景中投射自己的故事,也使这些作品能够向所有人开放。雷安将自己定义为工作在真实与感知领域的观念艺术家,他的作品很有趣,但并不只是有趣,他以幽默的方式、雷安式的幻象,警醒和反思摆放在现代人面前的即成现实。来到这场展览,你将踏上一场图像游戏的旅程,在此之前,看看世界各地的知名美术馆馆长、策展人、艺术评论家们,作为专业人士如何看待雷安德罗•埃利希作品,或许对你会有帮助。《游泳池》Swimming Pool,2004,日本金泽21世纪美术馆展出现场(2014),铁制钢架,木,钢化玻璃,泳池扶梯,摄影:Keizo Kioku,图片版权:金泽21世纪美术馆“反抗地球引力,颠覆空间,欺骗人们的眼睛,将观众转变成漫游者,强加的角度,表里不一的操控,特效的使用,好奇心的驱动,将观众变成演员,激活单调的画面,让人们对世俗的时间性感到沮丧,延展空间,开启窗户进入另类现实,重新诠释日常,悬置真假判断,构建现实主义,激发认同,强化难以置信的事物。以上列举的这些是雷安德罗·埃利希在其相对短暂的生涯中所发掘的一些资源。透过它们,艺术家对我们所生活的这个世界中司空见惯的事物,以及影响我们与环境之间的关系的自动机制提出了质疑。”——罗德里戈·阿隆索,国际策展人、教授《建筑》Bâtiment,2004,法国巴黎“白昼之夜”艺术节展出现场(2004),写真布喷绘,灯,铁,木和镜子,图片拍摄与版权:雷安德罗•埃里希工作室“……雷安是白日梦装置的专业操纵者,他代表了一种重写美学谱系的追溯尝试。同时,正如雷安自己所说的,这些逐渐而有逻辑地远离超现实主义的图像,或许预示了一个重新定义生而为人的意义的机会。”——原广司,东京大学名誉教授《美发沙龙》Hair Salon,2008,日本东京森美术馆展出现场(2017),木,镜子,椅子,美发工具,铝制条,灯,尺寸可变,拍摄:Hasegawa Kenta;图片版权:森美术馆“雷安德罗·埃利希的魔幻现实主义来自于对发掘反常和空想、并与它们对话的欲望,就像我们用双手去触摸熟悉的日常物体一样。它通过平凡场景或对物体的夸大和错置展现出来。它们并非构成现实的因果关系规则的延伸,而完全属于超凡的领域。”——长谷川祐子,东京艺术大学教授&东京都现代美术馆艺术总监《教室》Classroom,2017,日本东京森美术馆展出现场(2017),木,窗户,桌椅,门,玻璃,灯,尺寸可变,拍摄:Hasegawa Kenta;图片版权:森美术馆“雷安德罗·埃利希是一位试图跳出画廊和美术馆等通用空间的艺术家,他要突破的是以二十世纪的城市高层建筑群为象征的通用空间,这是一项大胆的挑战,他就像是渴望穿越到中世纪的堂吉诃德,是一名现代的勇士。雷安德罗·埃利希出生在旧时的中南美地区,正如加西亚·马尔克斯运用文学创造出一个颠覆欧美价值观的世界,从美术馆的白色立方体到象征市民社会的广场,他的足迹延伸到逐渐衰退化、形式化的城市里。”——北川富朗, 著名策展人、越后妻有大地艺术祭及濑户内国际艺术祭发起人《连根拔起》Pulled By the Roots,2015,德国卡尔斯鲁厄艺术与媒体中心(2015),图片拍摄及版权:雷安德罗•埃利希工作室“本次在北京所举办的个人作品展记录了他作为艺术家的漫长历程,也为他之前在一系列不同背景下创作的几件重要作品之间建立对话。前面提及的《泳池》,与《反射港湾》、《房间》、《教室》、《电梯》、《云》、《雨》以及《试衣间》等作品以特定的顺序安装,揭示了这位艺术家所创造的诗意世界的深度。本次展览还展出了其他一些为丰富观展体验而特别创作和改造的作品。《建筑》于2004年第一次在巴黎展出时,采用了一个经典的法式建筑立面;而这次的新版本选取了代表唐人街的典型建筑,一个本身存在于中国境外却在这次展览中被安置在中国的首都北京。这一改造产生了一种熟悉与陌生之间的奇妙互动。《迷失花园》是将一个不真实的花园设在一个中式庭院的建筑里,从《人行道》上我们可以看见中国的城市景观倒映在水池上。”——安德烈斯·杜普拉特,阿根廷国家美术博物馆馆长《楼梯》Staircase,2005,中国上海昊美术馆展出现场(2018),综合材料,尺寸不一,摄影:叶大伟“我们非常荣幸为雷安德罗·埃利希举办此次个展,雷安作品的所到之处,总会带来一场拥抱视觉艺术的狂欢,他善于调动观众,某种意义上,正是通过观众参与到创作的最终环节,成就了他作品观念的最终彰显。但雷安的幽默其实是犀利的,透过他的作品也让我们意识到,艺术的形态正以如此深入公共空间的存在,被观众和艺术家共同改变。借由雷安德罗·埃利希的作品,让我们有机会思考当代艺术及其展览,如何在新媒体文化的催化下,与观众形成全新的观看关系。”——张子康,中央美术学院美术馆馆长《试衣间》Changing Rooms,2017/2019,日本东京森美术馆展出现场(2017),嵌板,镜框,镜子,凳子,帘子和灯,尺寸可变,拍摄:Hasegawa Kenta;图片版权:森美术馆 | 关于艺术家 | 雷安德罗•埃利希Leandro Erlich雷安德罗•埃利希,1973年出生于阿根廷首都布宜诺斯艾利斯;现工作和生活于布宜诺斯艾利斯和蒙得维的亚两地。他曾参加过多次重要的国际当代艺术双年展,包括2000年纽约惠特尼双年展,2001年第七届古巴哈瓦那双年展,2002年上海双年展,2004年第27届圣保罗国际双年展,并代表阿根廷参加了第49届威尼斯双年展(2001年)和第51届威尼斯双年展(2005年)。他近年曾在以下重要机构呈现个展:森美术馆(日本东京,2017年),纽伯格艺术博物馆(美国纽约,2017年),卡尔斯鲁厄艺术与媒体中心(德国卡尔斯鲁厄,2015年),拉丁美洲艺术博物馆(阿根廷布宜诺斯艾利斯,2015年),首尔国立现代与当代艺术博物馆(韩国首尔,2014年),金泽21世纪美术馆(日本金泽,2014年),拉丁美洲艺术博物馆(美国长滩,2010),纽约现代艺术博物馆P.S.1(美国纽约,2008),罗马当代艺术博物馆(意大利罗马,2006年)等。| 展览基本信息 | 雷安德罗·埃利希:太虚之境Leandro Erlich: The Confines of the Great Void展览时间:2019年7月11日-8月25日展览地点:中央美术学院美术馆一层至四层展厅主办机构:中央美术学院美术馆支持机构:天禹文化集团有限公司  常青画廊总顾问:范迪安艺术总监:苏新平策展人:安德烈斯·杜普拉特  张子康学术顾问:王春辰执行策展人:高高  易玥策展助理:李志远票务详情扫描以下二维码抢购早鸟票展览时间:2019年7月11日—8月25日(展期内周一不闭馆)开放时间:9:30-17:30夜场时间:18:30-21:00(周一不开放)夜场最晚入场时间:20:301. 早鸟票:88元(仅限6月20日—7月10日抢购,展期通用,夜场不可用)2. 成人平日票:108元(周一至周五可用,周末及夜场不可用)3. 成人通票:128元(展期通用,夜场不可用)4. 双人票:168元(夜场不可用)5. 三人票:238元(夜场不可用)6. 优惠票:60元(使用人群见内文“优惠票使用规则”,夜场不可用)7.夜场票:88元(7月11—8月25日期间除周一外,18:30-21:00使用,20:30停止入场) 购票须知1. 凭电子购票凭证前往中央美术学院美术馆前台验证后,兑换纸质票入场,一人一票,门票仅供单次入场使用,出场后不可再次入场。2. 身高1.2米以下儿童可免费观展,需由成人陪同入场,一位成人仅限陪同一名免票儿童参观。3. 如遇观展人流高峰,可能实行限流观展;请观众遵从现场疏导。4. 如遇特殊活动价格浮动,展览信息临时变更,夜场开放日期调整等,请以中央美术学院美术馆官方平台及售票处公示为准。观众购票成功后,均视为已详细阅读各项须知且默认同意本展览的所有相关规定。中央美术学院美术馆拥有最终解释权。 优惠票使用规则1. 学生优惠票:限全日制本科及以下学生使用,需出示有效期内学生证原件(中小学及全日制本科实体证件,电子证件无效,国外学生需持本人有效ISIC学生证),无法出示有效证件者无法入场。2. 老人优惠票:60岁(含)以上老人,需出示身份证原件,无证件无法入场。3. 其他优惠票:现役军人、残障人士人需出示国家机关出具的有效证件原件,无证件无法入场。4. 持中央美术学院校友卡、中央美术学院美术馆贵宾卡、中央美术学院美术馆会员卡、博物馆协会会员证的,博物馆从业人员及其他符合国家相关票务政策的可购优惠票。咨询电话:010—64771575 More

莱安德罗·埃利希:太虚之境 前言 ...

2019-07-19

埃利希唤起了日常生活中的基本问题。他通过人性化的姿态,接受现实的不可知性,揭开了其格外朴实的面纱,将日常生活变成了艺术。 More

张子康:雷安德罗·埃利希——惊奇之始,看见与相信的对弈 ...

2019-07-19

中央美术学院美术馆馆长 张子康中央美术学院美术馆为备受关注的艺术家雷安德罗·埃利希(Leandro Erlich)举办继2015年德国卡尔斯鲁厄艺术与媒体中心和2017年日本东京森美术馆个展之后,又一次重要的个人展览“雷安德罗·埃利希:太虚之境”。在此之前,雷安的作品已经吸引了全世界范围内许多观众的参与和体验,并且经由互联网和社交媒体的发酵,而被更广泛的观众群体所了解,激发了世界各地观众源源不断的灵感,产生了无数的社交媒体照片和互动参与。某种意义上,雷安的艺术正是通过观众参与到创作的最终环节,成就了其作品观念的最终彰显。也让人们意识到,艺术的形态正以如此深入公共空间的存在,被观众和艺术家共同改变,我想这正是雷安德罗·埃利希的作品所具有的独特魅力。借由雷安德罗·埃利希的作品,让我们有机会思考当代艺术及其展览,如何在新媒体文化的催化下,与观众形成全新的观看关系。迷失、模糊、感知的困惑——这些都是艺术家雷安德罗·埃利希作品常常带给观者的感觉,正如雷安所说,在看见与相信之间存在着一个富饶的实验领域,雷安以空间位移、建筑错觉等对寻常空间的心理颠覆为手段,探讨了存在现实与意识模糊边界的错置问题,创造真实与虚幻叠合的情境,引发了对感知及其多样性的重新思考。为了最恰当的表达他所要阐述的观念,装置、现成品、雕塑、视频,甚至绘画等媒介和视觉形式都进入了雷安的创作视野,并且成功制造了众多挑战我们感知惯性的文化景观。在中国的俗语中,有句话叫“眼见为实”,而这位出生在南美大陆的视觉艺术家,让我们很自然联想到南美大陆上魔幻现实主义文化基因是否深深影响了他,他的作品提供了一种眼见之物也许并非真实的可能。雷安德罗·埃利希的作品中创造了诸多无明确边界的场所,一座好似从天而降的《游泳池》、从地面《连根拔起》的房子、一扇门缝里露出光亮的紧闭的《门》、几只漂浮在如镜水面上的小船……经由这些唤起观者现实感的日常场景,就像一个个“异托邦”入口,与老子所言的“恍兮惚兮,其中有物,窈兮冥兮,其中有精”的太虚境界隔着文化的时空两相契合,现实和表象彼此交融给观众带来虚幻之感,恍惚了人类眼睛这一感官系统的直接感知,进入镜像世界的想象视域。雷安德罗·埃利希的作品所到之处,总会带来一场拥抱视觉艺术的狂欢,而狂欢的下一站,雷安的幽默是犀利的,惊奇只是前奏,在故事慢慢展开的过程中,他埋下的多条伏笔值得我们细微品味。联合策展人:中央美术学院美术馆馆长 张子康 More

雷安德罗·埃利希的冒险 ...

2019-07-19

雷安德罗·埃利希通过“转移、复制、反映”的方式在同质的空间里创造出一个虚无的空间,进而创作出一个新的丰富的空间。 More
Quick loginAccount login
  • Mobile phone number will be your login ID
  •  
Use Artron membership to login

Child Public Education Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Submit

Adult Public Education Event Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Sumbit

Group Public Education Event Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
Submit

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.

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!