The Restoration of Memory: Study of Yuan Yunsheng's Work 'Memories of the Water Town'

  • Dates:2021-04-23 - 2021-05-01
  • Location:4th Floor, CAFA Art Museum
  • Opening:2021-04-23 15:30
  • Organizer(s): CAFA Art Museum
  • Academic Director: Su Xinping
  • Art Director: Zhang Zikang
  • Exhibition Supervisor: Wang Chunchen Gao Gao
  • Curator: Li Yaochen

Details

"2021 National Artwork Collection and Donation Program of the Ministry of Culture and Tourism of China"The Restoration of Memory:Study of the History of Yuan Yunsheng's Work 'Memories of the Water Town'Organizer: CAFA Art MuseumTime: 2021/04/23–2021/05/01Location: CAFAM 4th FloorAcademic Director: Su XinpingArt Director: Zhang ZikangExhibition Supervisor: Wang Chunchen, Gao GaoCurator: Li YaochenMr. Yuan Yunsheng is a star of the 20th century Chinese painting circle, and a star that shines with the freedom of art and the thirst for knowledge. An outstanding artist cultivated by CAFA, he has always been standing on the frontline of his time. His CAFA graduation work Memories of the Watertown was quite 'controversial' at that time; in the beginning of the Reform and Opening-up, his mural painting "Ode to Life" at the Beijing Airport received great public attention. As he became more acknowledged, he decided to study abroad and explore modern art. He returned to China a decade later, and took part in the reconstruction of traditional Chinese plastic arts' teaching system. He has always been the center of the spotlight, yet his art style has never remined the same. The work of his show a strong vitality, the core of which is continuous breaking and making.Group photo of the No.3 Painting Studio's teachers and students, taken after their graduation wrap-up meeting at the Zhongshan Park (From left to right: Dong Xiwen, Xu Xingzhi, Yuan Yunsheng, Wang Lu, Yan Tiezheng, Fei Zheng)Yuan was passionate about art, and hardly compromised even if his works were controversial sometimes. We are curious about the faith behind this persistence.Yuan Yunsheng, Self-portrait, 1962, oil on canvas, from artist's own collectionMemories of the Watertown was Yuan's bachelor degree graduation work created in 1962. It was his first ever mural painting draft, and also the starting point of his art career. We believe it's the best example to trace the painter's artistic spirit. Yuan Yunsheng, Memories of the Watertown (after restoration in 2020), 243x245cm, 1962, oil on canvas, donated by the artist to CAFAM in 2021In 2020, after three years of restoration work, the worn-out work once again returned to its glory, and went into the public's sight.Jiang Feng once commented on the work: "If it was not damaged and exhibited in the public, I'm sure that the audience would voluntarily help redeem its good name. We can see the painter's talent from this experimental work."Yuan Yunsheng, Memories of the Watertown draft, 23x29cm, 1962, oil on canvas, 2021, donated by the artist to CAFAMYuan Yunsheng's MemoriesI was haunted by ghosts in that spring: One was Dunhuang - I just watched the blockbuster Dunhuang exhibition in Shanghai for ten days in a row; the other was Boguyezi painted by Chen Laolian. I imitated all 48 paintings from the work around the Spring Festival. To digest the new knowledge, I came to the town of Luzhi by the outskirts of Suzhou.It was an ancient town, a town typical of watertowns south of the Yangtze River. People's, especially women's clothes were in harmony with the environment. Everything was left with the trace of ancient culture. There were rocks pointing out from the riverside above the water to fasten boats, which not only had holes in them, but also reliefs on the surface. I sat by the riverside, with a small package of fried noodles on my side, and watched the boats passing by while painting them with a bottle of ink. It was such a pleasant time.Yuan Yunsheng, Footage No. 36 for Memories of the Watertown, 19.1x26.4cm, 1962, pencil on paper,  donated by the artist to CAFAM in 2021I sat in the upper bunk in my dorm and let my imagination roam under the dim light. Soon a 40cm wide paper was filled with wild pen sketches. It was the sketch for my graduation work, and it was approved by my teacher Dong Xiwen instantly. The intertwined pen lines stood for my deep nostalgia for my hometown. I then used smaller papers to draw a few sketches of figures and color sketches that could only offer me a little inspiration, and those were the only preparation work for my graduation painting. I couldn't wait to paint on the big canvas. I was fortunate to book the showroom where a huge number of traditional Chinese sculpture were stored. I felt that I could paint more boldly with the company of the crouching tiger sculpture found in front of Huo Qubing's tomb.By then, I had practiced line drawing for months, and could draw a lot of figures on a 25x10cm cotton paper, and on a paper slightly larger than that I could draw a whole town. I put aside these practices, and let the figures appear in my mind naturally - the only thing I did was to organize them.I remember that I first painted the thinking girl in the lower right corner. I gave her hope like I wanted myself to be hopeful. I started painting from details and finished it in a month. There were no more time for me to polish it.What was my biggest gain from creating this painting? I think it was the self-confidence developed in the two months hard work of sketching from life. I felt much more comfortable without using any models, and in the end I even put aside the sketches - and as a result I got a painting much truer to myself. I think that was perhaps the power of honesty.Yuan Yunsheng, My Mural Dream, 1980Yuan Yunsheng, Draft of detail No.3 for Memories of the Watertown, 25x19cm, 1962, pencil on paper,  donated by the artist to CAFAM in 2021Yuan Yunsheng, Draft of detail No. 8 for Memories of the Watertown, 26.4x19.1cm, 1962, pencil on paper,  donated by the artist to CAFAM in 2021On Nov 30, 2020, Mr. Yuan Yunsheng wrote to CAFA director Fan Di'an, and told him that he wanted to donate his work Memories of the Watertown. In the letter he wrote: "This graduation work is the representation of my college years, a symbol of Mr. Dong Xiwen's education ideas on Chinese tradition and national aesthetics, as well as an evidence of the history of teaching at CAFA. It was a precious memory for me." It is believed that donation is the best destination of a work, and Mr. Yuan's donation is also his gesture to express his gratitude to CAFA that had cultivated him. While organizing the work, we surprisingly found out that there were over 160 sketches and notes related to it. There were not only palm-sized sketches from life and gouache sketches of figure, but also notes that keep record of his detailed schedule while painting the work.Yuan Yunsheng, Footage No. 1 for Memories of the Watertown, 26.4x19cm, 1962, gouache on paper,  donated by the artist to CAFAM in 2021Yuan Yunsheng, Footage No. 5 for Memories of the Watertown, 26.4x19.1cm, 1962, gouache on paper,  donated by the artist to CAFAM in 2021Yuan Yunsheng, Footage No. 19 for Memories of the Watertown, 26.4x19.1cm, 1962, gouache on paper,  donated by the artist to CAFAM in 2021The exhibition uses time as a clue, and is developed around the history of Memories of the Watertown. It tries to get to the work's origin and destiny through the restoration of its broken memories. Looking back at the creative process of the work, we could still be deeply moved by the painter's intuitive sense and expressive force, his ideas about world art and Chinese tradition, and his confidence in Chinese art. To restore the memory and history of this work is not only for the sake of this single work, but also the creative rules and complicated social background behind this work, and we hope the exhibition could trigger some reflections.Yuan Yunsheng, Footage No. 95 for Memories of the Watertown, 20x12cm, 1962, ink on paper,  donated by the artist to CAFAM in 2021Yuan Yunsheng, Footage No. 107 for Memories of the Watertown, 12.1x19.9cm, 1962, ink on paper,  donated by the artist to CAFAM in 2021Yuan Yunsheng, Footage No. 42 for Memories of the Watertown, 8.5x18.8cm, 1962, ink on paper,  donated by the artist to CAFAM in 2021Yuan Yunsheng, Footage No. 32 for Memories of the Watertown, 8.5x18.8cm, 1962, ink on paper,  donated by the artist to CAFAM in 2021Yuan Yunsheng, Footage No. 124 for Memories of the Watertown, 12x19.8cm, 1962, ink on paper,  donated by the artist to CAFAM in 2021Yuan Yunsheng, Footage No. 103 for Memories of the Watertown, 12x19.7cm, 1962, ink on paper,  donated by the artist to CAFAM in 2021Yuan Yunsheng, Footage No. 125 for Memories of the Watertown, 19.7x12.1cm, 1962, ink on paper,  donated by the artist to CAFAM in 2021About the ArtistYuan Yunsheng was born in Nantong, Jiangsu in 1937, and graduated from the Dong Xiwen Studio of the Oil Painting Department, CAFA in 1962. He once taught at Central Academy of Arts and Crafts and Mural Painting Department of CAFA. In 1979, he took part in the  painting creative works at the Beijing Airport, and drew attention of the art circle with his line drawing figure paintings of Xishuangbanna and the large-scale mural painting Water Splashing Festival: Ode to Life at the Beijing Airport. He was invited to the US in 1982, and successively taught at Tufts University, the MIT, Smith College and Harvard University till 1988, during which he created a great number of ink and wash paintings and mixed material works. In 1996, he returned to China to teach at the No.4 Studio of the Oil Painting Department, CAFA, and took the lead of the research work that focused on "Replication of traditional Chinese sculpture and construction of contemporary Chinese art education". Since then, he has been searching for inspirations from traditional Chinese sculpture, mural painting, stone relief, brick relief and genres that don't belong in the "traditional painting and calligraphy system".

https://static.cafamuseum.org/museum-image/image/202104/sy_1619054826660509.jpg

"2021 National Artwork Collection and Donation Program of the Ministry of Culture and Tourism of China"

The Restoration of Memory:

Study of the History of Yuan Yunsheng's Work 'Memories of the Water Town'

Organizer: CAFA Art Museum

Time: 2021/04/23–2021/05/01

Location: CAFAM 4th Floor

Academic Director: Su Xinping

Art Director: Zhang Zikang


Exhibition Supervisor: Wang Chunchen, Gao Gao

Curator: Li Yaochen



Mr. Yuan Yunsheng is a star of the 20th century Chinese painting circle, and a star that shines with the freedom of art and the thirst for knowledge. An outstanding artist cultivated by CAFA, he has always been standing on the frontline of his time. His CAFA graduation work Memories of the Watertown was quite 'controversial' at that time; in the beginning of the Reform and Opening-up, his mural painting "Ode to Life" at the Beijing Airport received great public attention. As he became more acknowledged, he decided to study abroad and explore modern art. He returned to China a decade later, and took part in the reconstruction of traditional Chinese plastic arts' teaching system. He has always been the center of the spotlight, yet his art style has never remined the same. The work of his show a strong vitality, the core of which is continuous breaking and making.

https://static.cafamuseum.org/museum-image/image/202104/sy_1619054879914331.jpg

Group photo of the No.3 Painting Studio's teachers and students, taken after their graduation wrap-up meeting at the Zhongshan Park (From left to right: Dong Xiwen, Xu Xingzhi, Yuan Yunsheng, Wang Lu, Yan Tiezheng, Fei Zheng)

Yuan was passionate about art, and hardly compromised even if his works were controversial sometimes. We are curious about the faith behind this persistence.

https://static.cafamuseum.org/museum-image/image/202104/sy_1619054971389924.jpg

Yuan Yunsheng, Self-portrait, 1962, oil on canvas, from artist's own collection

Memories of the Watertown was Yuan's bachelor degree graduation work created in 1962. It was his first ever mural painting draft, and also the starting point of his art career. We believe it's the best example to trace the painter's artistic spirit. 

https://static.cafamuseum.org/museum-image/image/202104/sy_1619055009461259.jpg

Yuan Yunsheng, Memories of the Watertown (after restoration in 2020), 243x245cm, 1962, oil on canvas, donated by the artist to CAFAM in 2021

In 2020, after three years of restoration work, the worn-out work once again returned to its glory, and went into the public's sight.

https://static.cafamuseum.org/museum-image/image/202104/sy_1619055024182016.png

Jiang Feng once commented on the work: "If it was not damaged and exhibited in the public, I'm sure that the audience would voluntarily help redeem its good name. We can see the painter's talent from this experimental work."

https://static.cafamuseum.org/museum-image/image/202104/sy_1619055058496999.jpg

Yuan Yunsheng, Memories of the Watertown draft, 23x29cm, 1962, oil on canvas, 2021, donated by the artist to CAFAM


Yuan Yunsheng's Memories

I was haunted by ghosts in that spring: One was Dunhuang - I just watched the blockbuster Dunhuang exhibition in Shanghai for ten days in a row; the other was Boguyezi painted by Chen Laolian. I imitated all 48 paintings from the work around the Spring Festival. To digest the new knowledge, I came to the town of Luzhi by the outskirts of Suzhou.

It was an ancient town, a town typical of watertowns south of the Yangtze River. People's, especially women's clothes were in harmony with the environment. Everything was left with the trace of ancient culture. There were rocks pointing out from the riverside above the water to fasten boats, which not only had holes in them, but also reliefs on the surface. I sat by the riverside, with a small package of fried noodles on my side, and watched the boats passing by while painting them with a bottle of ink. It was such a pleasant time.

https://static.cafamuseum.org/museum-image/image/202104/sy_1619055074308251.jpg

Yuan Yunsheng, Footage No. 36 for Memories of the Watertown, 19.1x26.4cm, 1962, pencil on paper,  donated by the artist to CAFAM in 2021

I sat in the upper bunk in my dorm and let my imagination roam under the dim light. Soon a 40cm wide paper was filled with wild pen sketches. It was the sketch for my graduation work, and it was approved by my teacher Dong Xiwen instantly. The intertwined pen lines stood for my deep nostalgia for my hometown. I then used smaller papers to draw a few sketches of figures and color sketches that could only offer me a little inspiration, and those were the only preparation work for my graduation painting. I couldn't wait to paint on the big canvas. I was fortunate to book the showroom where a huge number of traditional Chinese sculpture were stored. I felt that I could paint more boldly with the company of the crouching tiger sculpture found in front of Huo Qubing's tomb.

By then, I had practiced line drawing for months, and could draw a lot of figures on a 25x10cm cotton paper, and on a paper slightly larger than that I could draw a whole town. I put aside these practices, and let the figures appear in my mind naturally - the only thing I did was to organize them.

I remember that I first painted the thinking girl in the lower right corner. I gave her hope like I wanted myself to be hopeful. I started painting from details and finished it in a month. There were no more time for me to polish it.

What was my biggest gain from creating this painting? I think it was the self-confidence developed in the two months hard work of sketching from life. I felt much more comfortable without using any models, and in the end I even put aside the sketches - and as a result I got a painting much truer to myself. I think that was perhaps the power of honesty.


Yuan Yunsheng, My Mural Dream, 1980

https://static.cafamuseum.org/museum-image/image/202104/sy_1619055106373829.jpg

Yuan Yunsheng, Draft of detail No.3 for Memories of the Watertown, 25x19cm, 1962, pencil on paper,  donated by the artist to CAFAM in 2021

https://static.cafamuseum.org/museum-image/image/202104/sy_1619055140880862.jpg

Yuan Yunsheng, Draft of detail No. 8 for Memories of the Watertown, 26.4x19.1cm, 1962, pencil on paper,  donated by the artist to CAFAM in 2021

On Nov 30, 2020, Mr. Yuan Yunsheng wrote to CAFA director Fan Di'an, and told him that he wanted to donate his work Memories of the Watertown. In the letter he wrote: "This graduation work is the representation of my college years, a symbol of Mr. Dong Xiwen's education ideas on Chinese tradition and national aesthetics, as well as an evidence of the history of teaching at CAFA. It was a precious memory for me." It is believed that donation is the best destination of a work, and Mr. Yuan's donation is also his gesture to express his gratitude to CAFA that had cultivated him. While organizing the work, we surprisingly found out that there were over 160 sketches and notes related to it. There were not only palm-sized sketches from life and gouache sketches of figure, but also notes that keep record of his detailed schedule while painting the work.

https://static.cafamuseum.org/museum-image/image/202104/sy_1619055150896231.jpg

Yuan Yunsheng, Footage No. 1 for Memories of the Watertown, 26.4x19cm, 1962, gouache on paper,  donated by the artist to CAFAM in 2021

https://static.cafamuseum.org/museum-image/image/202104/sy_1619055166711730.jpg

Yuan Yunsheng, Footage No. 5 for Memories of the Watertown, 26.4x19.1cm, 1962, gouache on paper,  donated by the artist to CAFAM in 2021

https://static.cafamuseum.org/museum-image/image/202104/sy_1619055173264478.jpg

Yuan Yunsheng, Footage No. 19 for Memories of the Watertown, 26.4x19.1cm, 1962, gouache on paper,  donated by the artist to CAFAM in 2021

The exhibition uses time as a clue, and is developed around the history of Memories of the Watertown. It tries to get to the work's origin and destiny through the restoration of its broken memories. Looking back at the creative process of the work, we could still be deeply moved by the painter's intuitive sense and expressive force, his ideas about world art and Chinese tradition, and his confidence in Chinese art. To restore the memory and history of this work is not only for the sake of this single work, but also the creative rules and complicated social background behind this work, and we hope the exhibition could trigger some reflections.

https://static.cafamuseum.org/museum-image/image/202104/sy_1619055192211075.jpg

Yuan Yunsheng, Footage No. 95 for Memories of the Watertown, 20x12cm, 1962, ink on paper,  donated by the artist to CAFAM in 2021

https://static.cafamuseum.org/museum-image/image/202104/sy_1619055213400520.jpg

Yuan Yunsheng, Footage No. 107 for Memories of the Watertown, 12.1x19.9cm, 1962, ink on paper,  donated by the artist to CAFAM in 2021

https://static.cafamuseum.org/museum-image/image/202104/sy_1619055220989164.jpg

Yuan Yunsheng, Footage No. 42 for Memories of the Watertown, 8.5x18.8cm, 1962, ink on paper,  donated by the artist to CAFAM in 2021

https://static.cafamuseum.org/museum-image/image/202104/sy_1619055226785808.jpg

Yuan Yunsheng, Footage No. 32 for Memories of the Watertown, 8.5x18.8cm, 1962, ink on paper,  donated by the artist to CAFAM in 2021

https://static.cafamuseum.org/museum-image/image/202104/sy_1619055233449290.jpg

Yuan Yunsheng, Footage No. 124 for Memories of the Watertown, 12x19.8cm, 1962, ink on paper,  donated by the artist to CAFAM in 2021

https://static.cafamuseum.org/museum-image/image/202104/sy_1619055249320479.jpg

Yuan Yunsheng, Footage No. 103 for Memories of the Watertown, 12x19.7cm, 1962, ink on paper,  donated by the artist to CAFAM in 2021

https://static.cafamuseum.org/museum-image/image/202104/sy_1619055254398023.jpg

Yuan Yunsheng, Footage No. 125 for Memories of the Watertown, 19.7x12.1cm, 1962, ink on paper,  donated by the artist to CAFAM in 2021




About the Artist


1619055270605394.png

Yuan Yunsheng was born in Nantong, Jiangsu in 1937, and graduated from the Dong Xiwen Studio of the Oil Painting Department, CAFA in 1962. He once taught at Central Academy of Arts and Crafts and Mural Painting Department of CAFA. In 1979, he took part in the  painting creative works at the Beijing Airport, and drew attention of the art circle with his line drawing figure paintings of Xishuangbanna and the large-scale mural painting Water Splashing Festival: Ode to Life at the Beijing Airport. He was invited to the US in 1982, and successively taught at Tufts University, the MIT, Smith College and Harvard University till 1988, during which he created a great number of ink and wash paintings and mixed material works. In 1996, he returned to China to teach at the No.4 Studio of the Oil Painting Department, CAFA, and took the lead of the research work that focused on "Replication of traditional Chinese sculpture and construction of contemporary Chinese art education". Since then, he has been searching for inspirations from traditional Chinese sculpture, mural painting, stone relief, brick relief and genres that don't belong in the "traditional painting and calligraphy system".


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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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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!