Situ Zhaoguang Retrospective Exhibition

  • Dates:2021-11-08 - 2021-12-12
  • Opening:
  • Organizer(s): Central Academy of Fine Arts
  • Undertaker: CAFA Department of Sculpture
  • Co-organizer: CAFA Art Museum
  • Supporting Organizations: Beijing Yidong Lianchuang Public Art Co., Ltd. Beijing Yichaomeiyuan Environmental Art Design Co., Ltd.
  • Academic Consultant: Fan Di'an
  • Curator: Yin Shuangxi
  • Executive Curator: Duan Haikang
  • Exhibition Design: Ma Huayuan Situ Xiaochun
  • Exhibition Organizer: Zhang Wei Hu Quanchun Jin Tingting Mao Yuan Gao Gao Zhou Hongbing Ma Liang

Details

Situ Zhaoguang was born on June 10, 1940 in a Chinese family in Hong Kong. His family was originally from Kaiping City in Guangdong Province. He enrolled in the Affiliated Middle School of Central Academy of Fine Arts in 1955, and studied at the Department of Sculpture in CAFA from 1959. He was sent to Leningrad, the Soviet Union (now St. Petersburg, Russia) in 1961, and studied from Professor Mikhail Anikushin.In 1966, Situ Zhaoguang came back to China, and began to teach at the Department of Sculpture in CAFA. His signature teaching style was making works together with his students, and demonstrating with his own hands. He attached importance to cultivating the students’ sense of space, and insisted that they "observe subjects stereoscopically",  "with true love towards everything that’s beautiful". Being a teacher for decades, Situ Zhaoguang had always been educating young students whole-heartedly, and devoting himself to training the new generation of sculpture artists. He had always been a perfectionist in teaching work, winning respects from his students with his modest character, generous heart and brave style.  Students were touring around sculptor Konionkov’s studio. From left to right: Feng Zhen, Cao Chunsheng, Konionkov, Situ Zhaoguang, Zhang Huaqing, Wang Keqing, Su Gaoli Situ Zhaoguang returned to China from the Soviet Union in 1966, and created the sculpture of Mao Zedong for the Beijing Institute of Technology. Situ Zhaoguang was working at the sculpture studio in CAFA in 1984-85. Situ Zhaoguang demonstrated painting methods for his students. In the spring of 1974, Situ Zhaoguang was commissioned by the Ministry of Culture to go to Tibet with other sculptors from the CAFA Department of Sculpture, including Wang Keqing, Cao Chunsheng, Zhao Ruiying, Zhang Dedi, Zhang Dehua, Shi Yi, Guan Jing, Hao Jingping, Li Deli, and created the large-scale clay sculpture Anger of Serfs. In 1978, Situ was again sent to Tibet by the National Ethnic Affairs Committee, to collect materials and prepare for the replication of Anger of Serfs in the Cultural Palace of Nationalities in Beijing. He painted a great number of sketches of the Tibetan’s life and portraits during that time.  Group photo taken in 1976 show sculptors including Wang Keqing, Cao Chunsheng, Zhang Dedi, Zhang Dehua, Situ Zhaoguang, Guan Jing, Zhao Ruiying, He Jingping, Shi Yi, Li Deli, Duo Jila, Yang Weiming, Ali, Guo Linxin, Tu Sihua, and the then director of Tibet Revolution Exhibition Hall Xue Yilou, and consultant Zhol Khang Thub Bstan Nyi Ma. Situ Zhaoguang engaged field work in Tibet in 1974-75.  Situ Zhaoguang revisited Tibet in 1978. One of the pioneers of the new China’s urban sculpture, Situ Zhaoguang and his peers who also advocated for building sculpture in urban space went to cities like Moscow and Leningrad to study their sculpture. After he returned China, he created masterpieces such as Reading, Revery and Bursting, which are seen as the highlights of urban sculpture in China. Situ also had clear observation of the urban sculpture at his time. He put forward the idea of "Better less than poor-quality", which was also a reflection of his creative attitude. Every morning in 1984, Situ Zhaoguang went to the garden on Zhengyi Road to make the sculpture Reading, attracting many passers-by to stop to watch. In 1997, after toilsome hard work, Situ Zhaoguang fell ill, and was diagnosed Parkinson’s disease. Although suffering from chronic illness, he still carried on creating sculpture for famous people such as He Xiangning, Sun Zhongshan, Wu Zuoren and Liang Sicheng. Situ Zhaoguang had always portrayed his subjects serious-mindedly, and never found it a bother to repeatedly polish his work. The sculpture he made of famous people were as timeless as those people’s biographies, with essence of life flowing beneath the stiff surface of stones and rocks. Situ Zhaoguang made a sculpture of Rene Wang. Situ Zhaoguang was making a sculpture of Wu Zuoren, while Mr. Wu and his wife Xiao Shufang watched the process behind him. Situ Zhaoguang made a sculpture of Liang Sicheng despite of his illness. Situ Zhaoguang had always observed the world with simple and pure eyes, and captured the inner beauty of the subjects with passion. He sculpted liveliness into stones and woods, along with the aura of the subjects and his loving care for the subjects, so that the subjects live forever in the sculpture. The beauty of his creativity not only existed in his work, but also wrote a great paragraph for the splendid era of the new China.

Situ Zhaoguang was born on June 10, 1940 in a Chinese family in Hong Kong. His family was originally from Kaiping City in Guangdong Province. He enrolled in the Affiliated Middle School of Central Academy of Fine Arts in 1955, and studied at the Department of Sculpture in CAFA from 1959. He was sent to Leningrad, the Soviet Union (now St. Petersburg, Russia) in 1961, and studied from Professor Mikhail Anikushin.


1635831856985802.jpg


In 1966, Situ Zhaoguang came back to China, and began to teach at the Department of Sculpture in CAFA. His signature teaching style was making works together with his students, and demonstrating with his own hands. He attached importance to cultivating the students’ sense of space, and insisted that they "observe subjects stereoscopically",  "with true love towards everything that’s beautiful". Being a teacher for decades, Situ Zhaoguang had always been educating young students whole-heartedly, and devoting himself to training the new generation of sculpture artists. He had always been a perfectionist in teaching work, winning respects from his students with his modest character, generous heart and brave style.

 

1635831891138992.jpg 

Students were touring around sculptor Konionkov’s studio. From left to right: Feng Zhen, Cao Chunsheng, Konionkov, Situ Zhaoguang, Zhang Huaqing, Wang Keqing, Su Gaoli


 1635831919625851.jpg

Situ Zhaoguang returned to China from the Soviet Union in 1966, and created the sculpture of Mao Zedong for the Beijing Institute of Technology.


1635831940623656.jpg 

Situ Zhaoguang was working at the sculpture studio in CAFA in 1984-85.


1635831964888172.jpg 

Situ Zhaoguang demonstrated painting methods for his students.

 

In the spring of 1974, Situ Zhaoguang was commissioned by the Ministry of Culture to go to Tibet with other sculptors from the CAFA Department of Sculpture, including Wang Keqing, Cao Chunsheng, Zhao Ruiying, Zhang Dedi, Zhang Dehua, Shi Yi, Guan Jing, Hao Jingping, Li Deli, and created the large-scale clay sculpture Anger of Serfs. In 1978, Situ was again sent to Tibet by the National Ethnic Affairs Committee, to collect materials and prepare for the replication of Anger of Serfs in the Cultural Palace of Nationalities in Beijing. He painted a great number of sketches of the Tibetan’s life and portraits during that time.

 

1635831995526115.jpg 

Group photo taken in 1976 show sculptors including Wang Keqing, Cao Chunsheng, Zhang Dedi, Zhang Dehua, Situ Zhaoguang, Guan Jing, Zhao Ruiying, He Jingping, Shi Yi, Li Deli, Duo Jila, Yang Weiming, Ali, Guo Linxin, Tu Sihua, and the then director of Tibet Revolution Exhibition Hall Xue Yilou, and consultant Zhol Khang Thub Bstan Nyi Ma.


 1635832032120469.jpg

Situ Zhaoguang engaged field work in Tibet in 1974-75.


1635832091283320.jpg 

 Situ Zhaoguang revisited Tibet in 1978.

 

One of the pioneers of the new China’s urban sculpture, Situ Zhaoguang and his peers who also advocated for building sculpture in urban space went to cities like Moscow and Leningrad to study their sculpture. After he returned China, he created masterpieces such as Reading, Revery and Bursting, which are seen as the highlights of urban sculpture in China. Situ also had clear observation of the urban sculpture at his time. He put forward the idea of "Better less than poor-quality", which was also a reflection of his creative attitude.

1635832203795498.jpg 

Every morning in 1984, Situ Zhaoguang went to the garden on Zhengyi Road to make the sculpture Reading, attracting many passers-by to stop to watch.

 

In 1997, after toilsome hard work, Situ Zhaoguang fell ill, and was diagnosed Parkinson’s disease. Although suffering from chronic illness, he still carried on creating sculpture for famous people such as He Xiangning, Sun Zhongshan, Wu Zuoren and Liang Sicheng. Situ Zhaoguang had always portrayed his subjects serious-mindedly, and never found it a bother to repeatedly polish his work. The sculpture he made of famous people were as timeless as those people’s biographies, with essence of life flowing beneath the stiff surface of stones and rocks.

 1635832229819478.jpg

Situ Zhaoguang made a sculpture of Rene Wang.


1635832253101653.jpg 

Situ Zhaoguang was making a sculpture of Wu Zuoren, while Mr. Wu and his wife Xiao Shufang watched the process behind him.


1635832277135432.jpg 

Situ Zhaoguang made a sculpture of Liang Sicheng despite of his illness.

 

Situ Zhaoguang had always observed the world with simple and pure eyes, and captured the inner beauty of the subjects with passion. He sculpted liveliness into stones and woods, along with the aura of the subjects and his loving care for the subjects, so that the subjects live forever in the sculpture. The beauty of his creativity not only existed in his work, but also wrote a great paragraph for the splendid era of the new China.


1636343168944716.jpg


Photographs

Photographs

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“生命之塑——司徒兆光先生追思会”在中央美术学院举行

2021-12-07

“内美之光——司徒兆光回顾展”展览现场2021年11月9日,由中央美术学院主办的“内美之光——司徒兆光回顾展”在中央美术学院美术馆开展。展览回顾了司徒先生艺术人生的点点滴滴,建立与他创作丝丝缕缕的连接关系,复原了他工作室的场景,唤起我们对他深深的怀念。11月24日,由中央美术学院雕塑系组织的“生命之塑——司徒兆光先生追思会”在中央美院美术馆回顾展现场举行。“生命之塑——司徒兆光先生追思会”现场中央美术学院老领导、老教授盛杨、刘焕章、赵瑞英、翁乃强、曹春生、郭宝寨、王少军、隋建国等专程赶来,中央美术学院院长范迪安,学校相关部门负责人及雕塑系师生,与司徒兆光先生亲属出席了追思会,共同缅怀司徒兆光先生丰富细腻的艺术人生。追思会由中央美术学院雕塑系主任张伟主持。中央美术学院院长、中国美术家协会主席范迪安致辞中央美术学院院长、中国美术家协会主席范迪安在致辞中表示,“内美之光——司徒兆光回顾展”与“勿失毋忘——雕塑家滑田友诞辰120周年纪念展”形成了有序衔接,学院美术馆成为雕塑系乃至全体师生传承学习优秀传统的生动课堂。他表示,雕塑系几代师生同堂相聚,在缅怀司徒先生为新中国雕塑事业的发展作出杰出贡献的同时,也为共话央美雕塑教育教学传承与创新提供了机会。“司徒先生总是穿着工作服,不善言谈却勤奋创作,他是将一生奉献给艰苦雕塑事业的雕塑家。”范迪安谈到,司徒先生的作品充满人文情怀,他一生以肖像雕塑为专攻,塑造了很多革命伟人、历史名人及当代名人像,注重表现人物最重要的精神风采,仿佛用雕塑语言在写一篇人物传记。司徒先生的艺术才华是基于坚实的造型功力和对时代生活的感受形成的,尽管雕塑是单色的,但从他的作品中可以感受到生命的光彩。他表示,司徒先生的艺术值得展开更深入的研讨,此次追思会将为中国雕塑和央美雕塑教育发展留下一份重要文献。中央美术学院雕塑系主任张伟主持追思会雕塑系教授、本次展览执行策展人段海康介绍策展情况 雕塑系教授、本次展览执行策展人段海康介绍了展览情况。他谈到,此次展览从2014年开始计划,以“学为人师”“生命之塑”“燃情岁月”三个单元系统梳理了司徒兆光先生不凡的人生历程和艺术历程。展厅中的作品及展线的布置也呈现了司徒先生的人生轨迹,作品的创作过程,以及他在雕塑艺术与雕塑教学方面的成就。展览团队还把先生一些重要的小型作品,用3D扫描立体雕刻的方式等比例放大十几倍,首次面向公众展出。他说,司徒先生在雕塑刀法的艺术处理上娴熟独特,追求精致完美,保有了留苏一代老艺术家的突出风格,从作品中能感受到他的艺术激情和对生活的澎湃感受。在策展过程中,团队的主要想法是营造出一个有想象力的、有温度的、有司徒先生那个时代光环的空间场域,希望大家可以感受到司徒先生智慧的思想、豁达的人格、静穆的美学境界以及作品散发出的人性光辉与内在生命力。中央美术学院原党委书记、老教授盛杨先生发言中央美术学院原党委书记、老教授盛杨先生在发言中动情地说到,“有将近十年的时间,每次提到兆光我都怀着遗憾的矛盾心情,他是一位很有才华的雕塑家,很好的教育家,却在他艺术造诣的鼎盛时期,那么不幸承受着常人无法体会的病痛。”盛杨感言,看到这个展览感到很欣慰,司徒兆光先生在他有限的生命里创造了丰富的作品,给我们留下了大量的艺术财富,他的作品充满力量,给我们带来了美的享受。盛杨表示,司徒兆光是一位艺术家,同时他有一种匠人的毅力,如果没有这种品质,他的作品是不会达到这种高度的。雕塑系老教授刘焕章先生发言雕塑系老教授刘焕章先生在发言中回忆了与司徒先生交往的生动细节,深深怀念这位艺术上的知音,生活中的老友。“司徒在本该做雕塑最好的年纪时却病了,这是让我特别难过也特别遗憾的事情。”刘焕章感慨到,“我觉得正是保持一种良好的创作状态,才能让我一直不停地工作。为什么身体好,还是因为工作不断,每天都干很多活儿。你们要问我有什么经验,什么经验都没有,就是干!我这个‘干’也不是说没有思想地去干,因为这里边有创作、有构思,还有艺术追求等各方面。我写过一篇《学艺杂录》,文章里可以看到我在创作和生活中的所思所想。” 司徒兆光先生生前好友、中央美术学院老教授翁乃强先生发言“司徒离开我们太早了,他就像我的兄弟一样,一想到他,我就想流泪。”司徒兆光先生生前好友、中央美术学院老教授翁乃强先生专程赶来追思会现场,他在发言中回忆到,“我拍了很多司徒在工作时的照片,他在做廖承志、何香凝的头像时,我都在他身边,这些作品现在都收藏于华侨博物馆。作为华侨,我对这些人物都非常有感情,也能感受到司徒的创作是有生命力、有思想、有追求的。他在创作《郭沫若像》《吴作人像》《王合内像》等作品的时候,我也都在他身边,他心里记挂着这些人,是带着感情去创作的。”翁乃强在重温司徒先生的作品后感言,“我很感动于他的用功,他的习作和素描作品都是非常认真完成的。一个伟大的艺术家是有理想的,内心是有群众的,是为人民的。”原雕塑系主任、老教授曹春生先生发言 原雕塑系主任、老教授曹春生先生在发言中讲述了与司徒兆光先生一同求学的往事。“我跟兆光不仅是同学,还是邻居,念中学的时候就经常往他家里跑,那时候他们家里几世同堂,非常其乐融融。”曹春生回忆到,“到苏联学习的时候,我们就朝夕相处。我们俩都是学雕塑的,而且导师都是阿尼库申。我们是三年级进的工作室,做的作品互相都非常熟悉。”曹春生认为,司徒先生很有才华,也非常勤奋,对生活和艺术充满激情,在做雕塑习作的时候,常常跑前跑后去观察对象。因为当时老师要求全方位地去观察对象、表现对象,不是一个面,而是要像3D扫描一样地观察。曹春生谈到,这个展览将会给学雕塑的学生很多启示,希望年轻后辈能把雕塑作为自己终生追求的事业,全身心投入,舍得花力气。雕塑系老教授郭宝寨先生发言 “可以说是司徒老师陪着我长大的。”雕塑系老教授郭宝寨先生在发言中讲到,“上附中的时候,司徒老师是我们班的辅导员,附中毕业时,要报考美院,司徒老师带着我们去看一个老师从苏联带回来的雕塑,我从那时候开始对雕塑感兴趣了。当时司徒老师对我们来说就像大哥一样。回到美院工作,司徒先生是系主任,我们就又见面了。后来我跟司徒先生又住在一个小区,天天见面。之后他病了,我就经常去看他。他的离去让我们特别难过,我特别怀念他。”雕塑系老教授赵瑞英先生发言 雕塑系老教授赵瑞英先生回忆起司徒先生在西藏创作时的往事,“西藏三年,司徒十分醉心于创作,一天到晚就只有创作和睡觉两件事。”司徒先生作为当时创作团队里年龄最小的成员,却没有留下创作中的一些记录和故事,这让赵瑞英感到很遗憾。“当时赴西藏创作组中一半的成员都已经去世了……”说到此处,赵瑞英先生不禁伤感哽咽。 原雕塑系主任隋建国教授发言原雕塑系主任隋建国教授在发言中讲述了司徒先生做雕塑系主任时的故事,“1995年正好赶上美院从王府井搬到二厂校址,这段时间对于中央美院来说可能是一个‘低潮期’,但对于雕塑系来说,却是一个走向艺术高潮的开始。当时雕塑系正在准备做北京市抗日战争纪念群雕,我和孙伟、段海康为代表的团队经常要去北京市开会。那时候,司徒先生辛苦地搭建起了雕塑系的教学结构,让雕塑系平稳地度过搬迁的‘低潮期’。司徒先生时刻保持谨慎的做事态度,由他‘坐镇’雕塑系,同事们的心态稳定,年轻人可以放开手脚做事,这使得央美雕塑系达到在艺术界活跃的高峰期。”隋建国谈到,雕塑系就像一艘船,每一届的同学都是这艘船上的乘客,每一位老师都是这艘船上的船员,而系主任就要像司徒先生一样掌好这个时代的“舵”。中央美术学院原党委副书记、雕塑系教授王少军发言中央美术学院原党委副书记、雕塑系教授王少军在发言中分享了自己在学生时代认识的司徒兆光先生。“在我的大学时光里,从司徒先生身上感受到一种无形的压力,那就是他对学术理念的严格要求,这种压力甚至持续到今天,一直深深地影响着我。”王少军谈到,“现在翻看当时的日记,其中许多内容都是司徒先生从专业和学术层面上,提出我身上存在的问题。感谢他的这份严厉,我的进步是伴随着司徒先生一以贯之的鞭策。”雕塑系教授孙伟发言 雕塑系教授孙伟在发言中谈到,从学生时代到留校任教以来,司徒先生的音容笑貌和他的行事做派一直感染着自己和周围的人。以司徒先生为代表的前辈艺术家,是很有时代感与使命感的一代人,而司徒先生的内心既具有社会担当的责任感,又具有对于文化情感的诗意表达。他说,“司徒先生是一个很时尚的人,他的生活格调和穿着品位都反映出他追求创造性的态度。司徒先生是一位极有人格魅力的人,他心里一直装着雕塑系这个大家庭,也装着这个大家庭中的所有人。”雕塑系几代师生同堂相聚,缅怀司徒兆光先生雕塑系教授孙璐、周思旻等,分别谈了自己在学生时代得到司徒先生教诲的点滴。艺术管理与教育学院刘礼宾教授从策展的角度分析了司徒兆光先生的时代身份特征与个人艺术风格特点。他谈到,对司徒兆光、钱绍武、曹春生等中国第二代雕塑家的研究还亟待深入,值得注意的是,司徒兆光为改革开放后中国城市雕塑的发展提出了诸多建设性意见,并发挥了重要作用。司徒兆光先生夫人金亭亭致辞司徒兆光先生之子司徒晓春致辞追思会尾声,司徒兆光先生夫人金亭亭与儿子司徒晓春代表亲属对学校和雕塑系精心组织策划此次展览表达了谢意。金亭亭与大家分享了许多司徒先生在世时的生活点滴与艺术创作上的细节,司徒先生晚年尽管长期遭受病痛困扰,但仍关心学校的教学事业以及中国雕塑艺术的发展。金亭亭谈到,“司徒先生在去年疫情最严重的时候去世,大家没有办法聚在一起缅怀他。通过这次展览的重新挖掘和追思会的交流,可以让大家看到司徒先生这一代艺术家的情怀。”参加追思会嘉宾合影赵晶 李明威/文何逸凡 郑韩 王睿莹/图丨展览信息内美之光——司徒兆光回顾展展览时间:2021年11月8日—12月12日展览地点:中央美术学院美术馆三层B展厅主办单位:中央美术学院承办单位:中央美术学院雕塑系协办单位:中央美术学院美术馆支持单位:北京艺东联创公共艺术有限公司 北京翊超美苑环境艺术设计有限公司学术顾问:范迪安策展人:殷双喜执行策展人:段海康展览设计:马华元 司徒晓春展览统筹:张伟 胡泉纯 金亭亭 毛媛 孙婷婷 高高 周红兵 马亮| 温馨提示 |因校园疫情防控要求,美术馆暂停对外开放校内师生可正常参观丨展览作品(部分)《戴米拉的藏族妇女》 木 高60cm 1979年《扬青稞》 木 高94cm 1981年《伊文思》木 高58cm 1982年《马》 木 高23cm 1980年《非洲青年》 青铜 高58cm 1988年《雏鹰》 青铜 高17cm 1981年《妮》 木 高46cm 1984年《读》 汉白玉 高200cm  1984年《吴作人》 大理石 高50cm 1990-2006年《郭沫若》 青铜 高200cm 1987年
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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.

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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.

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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.

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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!