Exhibitions and Events-News- CAFA Art Museum

Exhibitions and Events－News

Focusing on important exhibition and activity info of CAFA Art Museum, and updates the latest news of international museum industry.

: Landmark exhibitions resurrected on extended reality platform

2021-05-31

TheVov, a new virtual arts ecosystem, is bringing historic exhibitions, along with live workshops and events, to a digital audience.Founded by Outset Contemporary Art Fund and the art-science collective Visualogical, the open-access destination is hosted on the extended reality (XR) platform Vortic Art. TheVov will initially run a 10-week program featuring past landmark exhibitions from 15 museums and galleries across the UK, including the late US artist Chris Burden’s 14 Magnolia Doubles, shown at the South London Gallery 15 years ago; German artist Andreas Gursky’s first UK retrospective at the Hayward Gallery in 2018; and British-Nigerian sculptor Yinka Shonibare’s open air installation at Yorkshire Sculpture Park in 2013. Alongside the exhibitions, a program of live, public events will run until May 30, including lunchtime tours and panel discussions with institution directors taking place inside the virtual galleries, and events with artists hosting interactive workshops.The platform operates on a micro-philanthropic model, inviting users to donate to a fund that will be distributed to the participating institutions at the end of the season.Candida Gertler, co-founder of Outset Contemporary Art Fund, says the shock of Covid has pushed the art world to find creative solutions to keep conversations and opportunities going. Oliver Miro, the founder of Vortic, says the pandemic has accelerated the interest and use of XR. While Miro claimed that XR opens up possibilities that do not exist in the real world, these opportunities of working closely with institutions also enabled the platform to "play around with creating bespoke virtual spaces and environments and to push the boundaries of what is possible in the digital realm". For example, theVov has experimented with layering content with audio guides, and is one of the first platforms in the industry to use live-streaming synchronization with 3D technology to enable curator or artist-led tours.Source | Museums AssociationAuthor | Samyama Kolhapuri
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: The Uffizi Gallery just sold a Michelangelo NFT for $170,000, and is minting more masterpieces from Its collection

2021-05-21

The Uffizi Gallery in Florence is turning some of its most prized artworks into NFTs and selling them to raise funds after a cash-strapped year. And it’s starting off with a bang: an encrypted Michelangelo painting of the holy family, Doni Tondo (1505–06), just sold for €140,000 ($170,000).The museum announced in May that it worked with the Italian company Cinello, which has patented a new way to make digital facsimiles of famous paintings. Cinello’s digital artworks, which it calls DAWs, are produced in the dimensions of the original piece, and purport to be completely unique and theft proof. An NFT token is created on the blockchain for each DAW, certifying ownership.Each piece produced for the Uffizi comes with a certificate of authenticity signed by Eike Schmidt, the museum’s director. As part of the agreement with Cinello, the museum banks 50 percent of the profits for each DAW made from a piece in its collection and sold by the company.A spokesperson for the Uffizi declined to provide details about the Michelangelo sale or the museum’s deal with Cinello. However, Schmidt said in an interview that "in the medium term [the NFT sales] will be able to contribute to the finances of a museum." Uffizi saw its annual visitor numbers fall from 4.4 million in 2019 to 1.2 million in 2020, and the NFT sale might nevertheless yield some extra cash at a crucial time.Some other major works from the gallery’s collection will also be turned into DAWs in the near future. Among those on the list are Botticelli’s The Birth of Venus, Raphael’s Madonna del Granduca, Caravaggio’s Bacchus, and Titian’s Venus of Urbino.Source | artnet News
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: Design Museum gets around Covid restrictions with pop-up art supermarket

2021-05-14

Under the UK Government’s Covid-19 restrictions, public museums in England could not open until May 17, but London’s Design Museum found a way to hold an exhibition despite that. The law-abiding creative rebellion is the pop-up exhibition "Supermarket".Photo: The Design MuseumDifferent from any regular exhibitions, "Supermarket" is an in-between concept between exhibition and a real "supermarket", an exhibition disguised as a grocery shop where people can instantly buy and walk out with the art. It enlisted 10 emerging illustrators, artists and animators to design packaging for a number of chosen essentials, including food and drinks, and of course hand sanitizer and toilet paper.The organizers hope to make a vital statement, #CreativityIsEssential, which has resonated with many on social media. “I think it’s a conversation that’s been going on over the whole lockdown,” said Joey Yu, an illustrator, animator and curator who is also part of the project. “I know the reasons they keep it shut for but for me, I think it’s so important for people to keep being inspired. Being able to see something that's the four walls of their room and just learn as well - in music form, theatre form, art form. These are things you need to see and feel in real life and it’s just not the same on the computer. So it’s definitely a debate that needs to be had.”Photo: The Design MuseumThe pop-up exhibition was open to the public from April 22 to 26. All proceeds will go to the Design Museum’s new Emerging Designer Access Fund, which gives emerging artists and designers free access to the Design Museum’s exhibitions, talks and events.Source | Museums AssociationAuthor | Samyama Kolhapuri
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: UK’s Collections Trust announces plans for improved museums database

2021-05-08

The recently published new database plan includes three key areas: connect and collect, use and enhance, and store and preserve.
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: The Pandemic’s Impact on Museum Workers’ Mental Health

2021-04-30

It's been over a year since the COVID-19 outbreak was declared a global pandemic, but another health crisis has been silently brewing. Experts are beginning to measure the virus’s devastating effects on museum workers' mental wellbeing.In the museum field, workers experienced sweeping job loss, salary cuts, and burnout that exacerbated the pandemic’s stressors. The American Alliance of Museums (AAM) did a survey on the mental impact of the pandemic in the museum field, and collected 2,666 responses from full and part time museum staff, independent consultants, volunteers, students and retirees. It finds that museum workers reported "a grave toll on their mental health and wellbeing from the pandemic", the impact of which rated an average of 6.6 out of 10 (where 10 indicates very strong negative impact).Though many institutions had been shutting down for a long time, half of museum staff reported a heavier workload, and more difficulty adapting to working remotely. The pandemic had a greater impact on part-time workers and freelancers, who are an essential part of the museum workforce. Over half have had their contracts cancelled or indefinitely postponed, losing more than half of their pre-pandemic income and average.The report also reveals a role of gender and race in museum workers’ experiences of pandemic-related mental health factors. Women were more likely than men to report increased workload and adverse effects on working hours, salary and wellbeing; while BIPOC respondents reported higher financial stress than while respondents.Meanwhile, the findings also demonstrate empathy among museum workers: Despite experiencing personal hardships, when asked to indicate how worried they were about various issues, respondents’ greatest shared concern was for the wellbeing of colleagues.Source | American Alliance of Museums, HyperallergicAuthor | Valentina Di Liscia
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: The Louvre digitizes 482,000 artworks from the depths of its collection

2021-04-16

Art lovers may now wander in the sea of the Louvre’s collection just online. The prestigious French museum has recently released its new online database, featuring nearly half a million artworks recently digitized from the collection.“The Louvre is dusting off its treasures, even the least-known,” said Jean-Luc Martinez, the museum’s President-Director, in a statement. “For the first time, anyone can access the entire collection of works from a computer or smartphone for free, whether they are on display in the museum, on loan, even long-term, or in storage.”The new website replaces the museum’s former Atlas database, which only included works on display. Now, of the 482,000 artworks currently digitized, there are antiques from the Louvre’s permanent collections, works on long-term loan from and to other French or foreign institutions, and there’s even an album titled Musées Nationaux Récupération (National Museums Recovery), dedicated to the objects that may have been looted by Nazis or colonial forces, which are currently entrusted to the Louvre and other French national museums for safekeeping until they can be returned to their legitimate owners, an ongoing process, according to the museum’s website.The entries in the database is updated daily by different curatorial departments from the Louvre. The site offers several research tools, including full-text search engine, advanced search form, and a complex of search filters like date of creation, location, category of work, artist to make it easier for people to find their objects of interest.Source | HyperallergicAuthor | Valentina Di Liscia
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: This miniature museum exhibition will show tiny works by Damien Hirst, Rachel Whiteread, and other artists

2021-04-09

In what may be the tiniest museum show ever, England’s Pallant House Gallery will showcase work this summer by more than 30 of Britain’s most famous artists, including Damien Hirst, Rachel Whiteread, Maggi Hambling and Grayson Perry.Titled "Masterpieces in Miniature", the show invited these artists to create tiny version of their original works - all ranging from the size of a pound coin to no larger than 20cm - for an architectural model gallery.The works span all media, from Damien Hirst’s half-inch spin painting to Edmund de Waal’s tiny ceramic sculpture atop a petite pedestal. Even John Akomfrah’s stirring film installations have been compressed into a photographic triptych that fits inside one lilliputian gallery.The dollhouse-sized space will be the third model gallery in the Pallant’s collection, following the "Thirty Four Gallery" created in 1934 and "The Model Art Gallery 2000" that was commissioned by the Pallant House Gallery to mark the new millennium. The trio of model galleries comprise a micro capsule of more than 80 years of British art, encompassing artists from the Bloomsbury Group, the Pop art era, and the Young British Artists of the 1990s.The collaborative project is "filled with optimism and hope for the future: about creating something positive out of all this disruption and uncertainty," said Pallant House Gallery director Simon Martin in a statement. “All the usual complex considerations about curation and display have come into play, about different media and forms of art including painting, drawing, sculpture, site-specific installation, and photography.” The Pallant also has plans for the exhibition to travel to other venues in the future.Source | artnet NewsAuthor | Caroline Goldstein
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: How and why museums appear on screen

2021-03-29

Despite the difficulties of large film crews descending on an historic site, the importance of incomes derived from these collaborations has never been more pronounced. Other than using the filming income to support its events, exhibitions, education and outreach work, and help with the upkeep of the building, the exposure on screens also has the benefit of engaging new audiences.
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: Monthly subscriptions make membership easy to say yes to

2021-03-26

As cultural organizations continue to face declining membership and significant lost revenue during the pandemic, many are seeking ways to engage new audiences and retain existing members. Luckily, while the long-term impact of the crisis is still unknown, the path to a more accessible and financially sustainable membership program is clear: monthly membership.For years, monthly membership has been growing in popularity across the border non-profit sector, and proves to show some promising results: According to some studies, revenue from monthly giving increased by 22 percent in 2019, more than twice the revenue from one-time gifts; retention rates for monthly donors are from 85 to 95 percent, nearly twice the rate of other types of donor; and monthly giving can attract a younger, more diverse audience.Photo credit: Franck on UnsplashIt is especially during the pandemic, when budgets are tight for both members and institutions, that monthly membership could help museums to generate predictable and consistent cash flow. Museums may treat monthly membership as a simple alternate option to annual membership, and they may also make monthly membership an entirely new product with special monthly programs or a unique set of benefits. Meanwhile, monthly membership has the potential to be considered as a less consumer-driven alternative, shifting the members’ mindset towards donation rather than a consumption that usually involves cost-benefit calculation.What’s more, monthly membership can be a mechanism for improving diversity, equity, accessibility and inclusion within cultural institutions. This has been the case at Carnegie Museums of Pittsburgh. Its monthly program launched in 2015 has "proven to be a way to diversify the membership base", according to the museums’ former Associate Vice President of Engagement Cari Maslow. By offering a more affordable option, many more museum lovers have the opportunity to access the benefits of membership, especially younger audience. It could also be an opportunity for young people to grow a lifelong interest in visiting museums.Source | American Alliance of MuseumsAuthor | Rosie Siemer & John Lewis
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: For better social experience, Fotografiska is merging with private arts club NeueHouse

2021-03-19

The Stockholm-based photography museum Fotografiska announced that it has merged with NeueHouse, the co-working and social membership space headquartered in New York.Moving forward, the two organizations will co-exist under a new parent company, CultureWorks, which brands itself as the “preeminent global growth platform for culture, experience, and hospitality brands,” according to a press release.For traditional non-profit institutions, this is quite an atypical move to make, and for Fotografiska, a for-profit museum, this move is likely read as a rebuke of traditional museology in favor of a trendy experience economy model that emphasizes its restaurant, entertainment and architectural offerings as much as its art.But chairman of Fotografiska Yoram Roth, who is also a majority investor in CultureWorks, believes that the merging is a commitment to the way many young people want to experience art in 2021, even if that means the museum starts to look less and less like the Met and more like a social club."I think there is a very staid and tenured way of looking at what the mission of a museum is and the way that it fulfills that mission, and everything else that is different from that is looked at as a threat or as not serious," Roth says. "We are not the competition. The competition is TikTok and the Xbox and Netflix. We need to get people off the couch."After the merger, crossover programming between the duo will become a regular occurrence, and branches of each are expected to pop up in the same cities.Source | artnet NewsAuthor | Taylor Dafoe
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Child Public Education Reservation Form

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Group Public Education Event Reservation Form

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Group Visit Agreement
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CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

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

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

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

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

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

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

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

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

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.