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20世纪中国艺术家赴新疆写生历程

2023-08-15

在此次“写生新疆:20世纪以来新疆主题创作研究展”中,试图梳理近代中国艺术史上这一特殊现象,追溯到上世纪30年代末,具有边疆觉悟的艺术家开始了远赴西域边地的新疆考察写生的旅程,跨越近百年的时间,一直到今天。“写生”曾经是艺术家以现实为对象来锻炼表现技法、搜集创作素材的重要手段,进入到当代,写生从一种方法手段进化成为一种行动,在不同时代艺术思想和文化理念的影响下,赴新疆的写生和创作也表现出了时代艺术语言的变化,反映出不同时代艺术家对新疆这一地理、人文环境的捕捉与刻画。1939年鲁少飞前往新疆,担任《新疆日报》漫画作者。鲁少飞《农技厂制造松土器》约20世纪40年代1943年“司徒乔画展”在迪化举办,展出在伊犁等地的写生100多幅。沈逸千赴新疆写生,作品有《哈萨克牧羊女》。1944年司徒乔在新疆各地写生并组织天山画会,于《新疆日报》连载《新疆猎画记》。秋,司徒乔在迪化举办第二次新疆写生画展。1945年司徒乔在重庆举办“新疆写生画展”,展出作品280件。1946年3月-7月,韩乐然沿甘肃河西走廊到新疆考察民情、旅行作画、临摹克孜尔石窟壁画、考古调查,并从事统一战线工作。作品有水彩画《晒粮食》《钉马掌》等.1946年4月,《新疆日报》刊登“韩乐然先生西画展览启事”7月,“韩乐然库车克孜尔千佛洞临摹壁画展”在迪化展出。1947年2月底,韩乐然再赴新疆考古,清理发掘克孜尔石窟。7月30日,由迪化飞往兰州,途中飞机失事遇难。所携在克孜尔画的几十幅油画、水彩画和几百张照片遭毁。黎雄才经敦煌赴新疆写生,作品有《哈密道中》等。常书鸿画《韩乐然》像(1947年)和司徒乔肖像照1948年夏,赵望云应国民党将领张治中邀请,赴新疆写生。用近三个月时间完成50幅描绘当地少数民族民俗生活的作品,交“天山学会”出版。10月,由中苏文化协会主办的“赵望云画展”在迪化展出。黄胄首次跟随老师赵望云初访新疆,自此与新疆结下了不解之缘。此后七赴新疆。20世纪50年代初,司徒乔和黄胄合影1949年10月20日,新疆和平解放。1950年秋,叶浅予作为中央访问团成员访问新疆。行遍天山南北,历时几个月,画速写数百张,记录了新疆人的劳动、娱乐、风俗、形象。叶浅予《中国人民大团结》年画 1952年1952年中央美术学院研究生列阳毕业后,从西安《西北画报》调到新疆美术工作室工作,是最早的内地美术院校毕业进疆的美术工作者。1953年黄胄随中央慰问团解放军代表团赴新疆、青海地区,创作大量速写。黄胄在新疆写生徐庶之辞去在《西北画报》社的工作,从西安来到新疆,从事新疆题材创作40年。1954年艾中信到甘肃乌鞘岭兰新铁路工地体验生活,创作长达4米的油画《通往乌鲁木齐》。1955年新疆更名为新疆维吾尔自治区。1956年秋,黄胄以记者身份参加中央和解放军组成的赴新疆慰问团,后继续在北疆、南疆等地区采访写生半年。1957年4月,黄胄应邀在中央美术学院举办“黄胄速写观摩展”,展出赴新疆的速写,引起美术界的关注。靳尚谊创作完成“马克西莫夫油画训练班”毕业作品《登上慕士塔格峰》。1957年靳尚谊与毕业创作《登上慕士塔格峰》一画作模特合影1960年秋,罗工柳赴新疆,访问克拉玛依油田、吐鲁番、库车(千佛洞)、喀什、和田,搜集创作素材。1961年詹建俊第一次赴新疆喀什、和田等地写生,回京后在中央美术学院油画系举办“新疆作品观摩展”。1961年詹建俊在新疆写生1962年2月-7月底,中国美术家协会组织4位北大荒版画青年作者赴新疆旅行写生,北至伊犁、昭苏,南至喀什。1963年在哈尔滨和北京举办的“晁楣、张祯麒、杜鸿年、张路旅行新疆版画展”。哈孜·艾买提创作油画《罪恶的审判》,为新疆现实主义题材油画的奠基之作。1964年应新疆博物馆邀请,陆鸿年、王定理领队率领中央美术学院国画系人物画科学生齐·巴雅尔等赴新疆克孜尔、库木吐拉等千佛洞临摹、复制壁画两个多月。1964年陆鸿年、王定理领队率领中央美术学院国画系人物画科学生在新疆克孜尔千佛洞临摹壁画1974年关山月到新疆体验生活,为乌鲁木齐机场创作《天山牧歌》。关山月《天山牧歌》中国画 1974年1977年出版的《新疆人物写生选》和1982年出版的《新疆油画写生》1978年夏季到1979年1月,刘秉江首次带学生深入南疆喀什、和田和塔什库尔干写生创作。1978年刘秉江在新疆喀什写生赵延年带领浙江美术学院研究生赴敦煌、新疆写生。1979年8月,中央美术学院与新疆自治区博物馆联合考察新疆石窟,临摹克孜尔石窟壁画,领队金维诺,韦江帆、官其格任指导教师。全山石带领十余名研究生及年轻教师尚丁、徐芒耀等到敦煌、新疆一带考察、写生。10年之中,8赴新疆,历遍天山南北。“全山石新疆写生展”在上海、杭州、安徽、山东、湖南、福建等地展出。代表作有《塔吉克姑娘》(1980年)、《老艺人》(1980年)、《维族建设者》(1986年)等。文国璋首次赴新疆旅行写生,作水彩70余件,在乌鲁木齐举办写生作品展。1980年8月,杨之光赴新疆写生。11月,“杨之光西北写生画展”在广州展出。张华清自1980年至1988年应邀多次赴新疆创作和讲学,为边疆地区师范大学、教育学院讲学,举办教师进修班,为少数民族地区培养教师和美术专业人才。何孔德《新疆小姑年》油画.1980年jpg1981年夏、秋,吴冠中到新疆讲学、写生,创作油画《新疆农家》《高原人家》《白桦林》,水墨画《交河故城》《大漠》《奔马》《高昌遗址》等作品。12月,张仃赴新疆写生,创作《巨木赞》《墓地》等。靳尚谊到新疆喀什、吐鲁番、塔什库尔干等地收集创作素材。创作《维族老人》《维族女医生》《帕米尔姑娘》《塔吉克小姑娘》及风景画《牧场》《河谷》《塔吉克新娘》(1983年)等。詹建俊第二次赴新疆写生,创作油画《帕米尔的冰山》,其他新疆题材代表作有《清风》(1983年)、《飞雪》(1988年)、《绿野》(1987年)、《飘动的红霞》(1991年)、《山那边的风》(1992年)等。浙江美术学院与新疆艺术学校联合举办为期一年的“新疆少数民族油画研修班”,由全山石主持。学生14名,有汉、维吾尔、哈萨克、回、蒙古、锡伯族,分别来自伊犁、喀什、和田、哈密、吐鲁番、巴州等地,结业创作8件作品参加全国首届少数民族作品展,4件作品获佳作奖。1982年8月,“古元画展”在新疆乌鲁木齐市和伊宁市举行,古元在新疆各地参观访问。创作《骆驼赞》《秋牧》《天山牧场》《静静的赛里木湖》《火焰山下》等木刻和水彩画。浙江美术学院组织王流秋、胡善余、黎冰鸿、林达川、费以复5位油画系教授同赴西部写生,经敦煌、新疆牧场等地,为期两个月。1982年出版的《全山石新疆写生》1983年中央美术学院林岗赴新疆喀什办美术学习班,授课老师有哈孜·艾买提、艾尼·吾甫尔、庞壔。1983年出版《新疆好美术作品选》1984年4月叶浅予在作画1985年阳太阳赴陕西、内蒙古、甘肃、宁夏、青海、新疆等省区访问、考察、写生。1986年夏,朱乃正赴甘肃、青海、新疆作画并讲学。作品有《维族少女》《穿红裙的新疆姑娘》等。苏高礼赴新疆乌鲁木齐为中央美术学院油画系在新疆举办的美术培训班讲学。作品有《哈萨克人家》《丛树》等。1986年出版《叶浅予两访新疆》1986年全山石和研究生在新疆1987年陈孟昕去新疆写生,创作工笔画《帕米尔风情》(1989年)。1988年出版《中国美术家丝绸之路作品选集》1989年9月,赵振川赴新疆写生。10月创作《山水》。秋,赵以雄、耿玉琨自筹经费,自驾北京吉普车,由北京出发,完成了以长安为中心东至日本京都奈良,西经新疆达土耳其伊斯坦布尔的全线考察。1990年中央美术学院油画系和乌鲁木齐市工人文化宫联合举办油画学习班。来自全疆各地的学生共40余人。中央美术学院教授文国璋长期负责此班,朱乃正、苏高礼、陈文骥、吴小昌、罗尔纯等轮流讲学。詹建俊第三次赴新疆,创作“胡杨”系列作品。陈光健带领西安美术学院研究生去新疆塔吉克族写生,创作《绿色边疆》获“第八届全国美展”优秀奖。9月,吴长江首次赴新疆吐鲁番、喀什等地写生。1992年叶浅予和龚建新合影1997年画家陈雅丹启动翻越天山,纵穿罗布泊的旅行写生计划。 1998年袁武赴新疆写生。2000年8月,中央美术学院油画、壁画研究生西北文化考察写生计划启动。杜键、孙景波率队,研究生17人,深入宁夏、甘肃、陕西、青海、新疆等省区,行程两万多公里,完成速写6000多张、油画写生900件、摄影1万件、录像十几个小时以及50多篇文字稿。孙景波创作油画《通往乌鲁木齐的高速路》,杜键创作油画《沙漠公路》等。2000年中央美术学院“走进大西北”写生团合影展览艺术家(按出生时间排列)韩乐然、司徒乔、叶浅予、王合内、罗工柳、戴泽、梁玉龙、黄胄、伍必端、李山、列阳、钟涵、全山石、闻立鹏、杨鸣山、靳尚谊、庞均、谭权书、阿曼·穆罕诺夫、谢家道、苏高礼、龙清廉、龚建新、文国璋、范迪安、李晓林、张群、于小冬、刘小东、杨茂源、胡西丹·克里木、赵培智、刘商英、刘雨佳、康春慧部分参展作品司徒乔 套马 中央美院美术馆藏韩乐然 天山脚下歌舞  油画 1946年  48×63cm叶浅予 新疆乐舞(轴)中央美术学院美术馆藏梁玉龙 新疆背袋老人 87×68cm 布面油彩 1961 中央美术学院美术馆藏阿曼·穆罕诺夫 葡萄架下 中央美术学院美术馆藏王合内 对话(女孩和小鹿) (木雕) 中央美术学院美术馆藏靳尚谊 塔吉克新娘全山石 维吾尔老人——教长 中央美术学院美术馆藏刘小东 土孩儿 150×140cm 布面油画 2013 中央美术学院美术馆藏张群 高高的塔什干 中央美术学院美术馆藏| 展览信息 |国家艺术基金资助项目中国福利彩票和中国体育彩票彩票公益金资助写生新疆:20世纪以来新疆主题创作研究展展览时间:2023.7.12-8.20展览地点:中央美术学院美术馆2层B展厅资助单位:国家艺术基金主办单位:中央美术学院承办单位:中央美术学院美术馆支持单位:中国美术馆 新疆美术馆 黑龙江省美术馆 浙江华茂艺术教育博物馆 懋源泓斋鸣谢:罗安 闻丹青 韩健立 蒋雯丽学术主持:邱志杰总策划: 张子康学术顾问:曹庆晖展览总监:韩文超展览统筹:王春辰 高高策展人: 郭小晖 王静设计协调:纪玉洁视觉设计:孙彤
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“团体作为方法”参展艺术团体样本①——阿博洛学会

2023-08-07

团体作为方法中央美术学院艺术团体研究与抽样展主办:中央美术学院美术馆展览时间:2023年7月12日—9月3日展览地点:中央美术学院美术馆3层展厅“团体”,是艺术世界的一种常见工作方法。艺术团体,可能促成了某个观念的传播与接收,可能形成了有别于个人创作的另一条艺术史叙事脉络,也可能记录了一段共同成长的友谊。此次展览即以“团体”作为切入以中央美术学院为坐标的中国美术史研究的一条线索,尝试梳理和展示中央美术学院百年发展史中各时期自组织艺术团体的文献,并抽取其中有历史代表性的若干团体作为样本进行剖析式的具体展示。展览的第一部分以90个艺术团体的文献资料为内容,展览的第二部分以1920年代以来的3组艺术团体的文献与作品为内容,包含阿博洛学会(1920年代)、四方工作室(1990年代)和N12(2000年代)。下面将为大家展开第一个参展艺术团体的样本——阿博洛学会(1920年代)。阿博洛学会是20世纪中国美术史上的重要艺术团体,也是北京地区第一个西画艺术团体,是新文化运动的重要参与者,其成立与活动在当时具有非常重要的意义。此次展览是1924年之后阿博洛学会以专题的形式首次展出。阿博洛学会活动时间:1922-1924发起人:李毅士、吴法鼎核心会员:王悦之(即刘锦堂)、王子云、高叔达(即高春莱)、夏伯鸣、钱稻孙、钱铸九(即钱鼎)、陈启民、韩子极、郭志云等,会员最多时达到二十余人,学会干事:王子云,负责日常事务,组织展览会、寄发新闻稿。其他会员:郑锦(北京美术专门学校校长,见1922 年底公布的阿博洛学会公开教授会简章教员名单),严季冲(即严智开)(北京美术学校教员,见1923 年夏举办的暑期绘画学校教员),尚其煦(上海美专西画系学生,见1923 年夏举办的暑期绘画学校教员)。王之英(北京美术专门学校学生,见1923 年底呈报北洋政府内务部的学会简章的职员名单)。1922年,北京阿博洛学会同仁合影。前排自左起:郭志云、李毅士、韩子极、钱铸九、夏伯鸣、吴法鼎;后排左起高叔达、王悦之、王子云、陈启民、钱稻孙团体理念:阿博洛学会是一个兼具教育、研究、展示功能的艺术团体,以传播西洋美术为宗旨。阿博洛(Apollo)为希腊神话中的太阳神,司掌文艺,此团体以太阳神为名,表明其纯粹研究美术,进而为“美术界前途开光明之路”的宗旨,倡导自由研究并为更多爱好者提供学习机会。北京唯一研究绘画机关《小时报》(1923年第2334期)中“艺术界消息”板块将“阿博洛美术研究所”称为“北京唯一研究绘画机关”。学术界新闻:阿博洛学会成立( 《学生杂志》 1923 年  第10卷 第2期 ,122页)阿博洛学会公开教授会简单,1922年12月31日阿博洛学会的组织演变夏季习画会阿博洛学会研究会和阿博洛学会公开教授会男女高师分别增设阿博洛习画会和习画分会阿博洛暑期绘画学校,也称第二届暑期习画会北京美术学院1922年,北京阿博洛学会欢送陈师曾回江西故里合影。前排左起:陈起民、郭志云、王悦之、陈师曾、钱稻孙、李毅士、王子云1924年2月29日,北京阿博洛美术研究所全体欢送李毅士赴沪留影(前排左起:陈启民、王实之、王悦之、李毅士、郭志云、尚其煦、王子云、陈宗向,后排右一:刘开渠)1924年夏,北京美术院暑期学校师生合影(前排正中者为王悦之)主要活动简表1922年6月,李毅士、吴法鼎等组织阿博洛学会,共同提倡西洋美术。阿博洛学会在宣内察院胡同25号举办夏季习画会,设有自由研究及师范补习班。1922年8月31日,阿博洛学会举办夏季习画会展览会,地点西单察院胡同女子美术学校。1922年12月,开设阿博洛学会研究会,面向校毕业生及本会会员,以研究高深艺术、养成艺术专家为宗旨。开设阿博洛学会公开教授会,面向有志于艺术者以传授西洋画为宗旨。学会决定自1923年1月起每月刊印美术杂志一期,每年春秋两季各开展览会一次,为讨论会务起见,每星期举行聚餐会一次。1923年1月2日,阿博洛学会在西四翊教寺胡同平民中学举行临时展览会开幕,展出作品一百余件。1923年3月底,阿博洛学会召开第八次常会,公决阿博洛正式展览会展期,下发会员座右日历表,激励会员赶制参展作品。1923年5月15日,阿博洛美术展览会开幕,地点在西四牌楼历代帝王庙中华改进社,为时15天,展出作品132件,日参观人数一千余。1923年5月28日,午后,鲁迅往帝王庙观阿博洛展览会绘画。1923年6月,阿博洛习画会及习画分会在男女高师成立,拟在海王村公园建阿博洛美术陈列馆。1923年7月5日,阿博洛暑期学校开课,地点在国立北京师范大学,分西洋画和绘画师范两科,西洋画科分为铅笔、木炭、水彩、油画四组,绘画师范科分为高等师范和普通师范两组。学员共70余人。1923年7月14日,李毅士、钱稻孙分别演讲《透视学概要》、《何谓造型艺术》。1923年8月4日,阿博洛暑期绘画学校教职员学生全体合影,拟制校友录,方便各地同学联络情谊。1923年8月15日,师范科结业。西洋画科水彩、油画两组野外实习九天,赴天安门、中央公园、先农坛等地写生风景、建筑、花卉。1923年8月20日,西洋画科组织西山旅行写生团,赴西山写生一周。1923年9月,因招生问题与校方分歧,李毅士、王悦之、高叔达、吴法鼎相继从北京美专辞职。1923年10月,阿博洛学会章程报呈北洋政府内务部。1923年10月22日,阿博洛学会研究所开课,会址在西城砖塔胡同口袋底4号。该所作为创办美术专门学校之准备,分为普通科和专修两级,普通级包括铅笔画、木炭画、水彩画、油画各科,专修级分为西洋绘画科、应用美术科、美术图案科。特设特别研究员和减费生。1923年11月,筹划阿博洛学会秋季展览,拟定12月1日举行筹备阿博洛美术函授学校,面向外地在职美术教员招生。1923年12月21日,吴法鼎应刘海粟之邀,赴上海充任上海美专教务长。1924年2月1日,吴法鼎在回京火车上病逝。1924年2月26日,阿博洛学会成员欢送李毅士赴沪接替吴法鼎充任上海美专教务长,王子云、郭志云、王悦之等相继发言,会后合影留念,晚7时在虎坊桥锦江楼聚餐。1924年4月6日,举行吴法鼎追悼会并遗作展览会,地点在北京大学第三院,上海美专校长刘海粟、教授汪亚尘与会。1924年4月8日,应阿博洛学会之邀,汪亚尘、刘海粟分别演讲《艺术家的修养》《何谓艺术》。1924年4月16日,阿博洛美术研究所展览会开幕,地点在西四口袋底四号,为时五天,展出作品四百余件。1924年6月,阿博洛学会解散,改设北京美术学院,地点在西四太平仓平安里新建楼房,推王悦之为院长。先办暑期学校,暑假后正式招生,拟设西洋画科及研究科,性质为美术专门学校。钱稻孙 《看了阿博洛展览会的感想》 (《晨报副刊》 1923年1月7日 ,4页 )“最后我还有几句话:阿博洛学会很希望大家兴起来,做美术上的发展,决不怀着一些他意。此次是公开教授会和研究会成立的纪念展览;这研究会是会员互相磋磨为主义的,公开教授会是为那不能受学校教育的人而设的,我们对于已有的美术团体或机构,方欢忻敬重之不暇,毫无别种居心,希望社会上不要误会了我们的真意。”——钱稻孙 《看了阿博洛展览会的感想》成员作品选登吴法鼎作品:吴法鼎 《旗装女人像》 94×63cm  布面油彩  20世纪20年代  中央美术学院美术馆藏吴法鼎 《海滨》 60x92cm  布面油彩  1914年  中央美术学院美术馆藏吴法鼎 《北京中央公园风景》  油画  《绘学杂志》( 1921年第2期 ,第1页 )吴法鼎 《北京十刹海风景》  油画  《绘学杂志》(1921年第2期,第1页)吴法鼎 《苏州河》  油画  (《晨报副刊》 1924年75号 )吴法鼎 《女肖像》  油画  (《晨报副刊》1924年75号 )吴法鼎  《女人体》  油画  (《晨报副刊》1924年75号 )李毅士作品:李毅士 《陈师曾像》 130x70cm  布面油彩  1920年  中央美术学院美术馆藏李毅士 《王梦白像》 117 ×76cm  布面油彩  1920年  中央美术学院美术馆藏艺术界消息,《小时报》(1923年第2334期),内容为:李毅士先生曾在英国美术专门学校毕业故对于西洋画法造诣甚深近称北京唯一研究绘画机关之“阿博洛美术研究所”即係毅士所创办近制有白居易“长恨歌全图”共三十馀幅描写精到擅中西新旧绘事之能至堪宝贵闻将精印出售以广流传云。李毅士 《长恨歌画意》之二  1932年出版李毅士 《长恨歌画意》之四  1932年出版李毅士 《长恨歌画意》之五  1932年出版李毅士 《长恨歌画意》之六  1932年出版 李毅士 《长恨歌画意》之七  1932年出版郭志云作品:郭志云 《静物》 油画 《造形美术》(1924年第1期,15页)郭志云 《京西风景》 油画 《造形美术》(1924年第1期,15页)王悦之作品:王悦之 《北海公园一隅》 1930  37×58cm  中国美术馆藏王悦之 《北京德胜门》 1921-1923年  33×25cm  中国美术馆藏王悦之 《裸体》 1921-1923年  61×45cm   中国美术馆藏王悦之 《西山风景》 1921-1923年  46×32cm  中国美术馆藏王悦之 《摇椅》 1921-1923年  105×76cm  中国美术馆藏展览现场(注:本次整理资料综合了大量以往的研究成果,感谢刘曦林、黄碧赫、杜志东等学者的研究。)团体作为方法中央美术学院艺术团体研究与抽样展主办:中央美术学院美术馆展览时间:2023年7月12日—9月3日展览地点:中央美术学院美术馆3层展厅学术主持:邱志杰展览总监:张子康、韩文超展览统筹:王春辰策展团队:高高、刘希言、李垚辰、易玥、胡晓岚、金简如、陈冠石策展助理:王若冰、李樱妮、王新言、张潭、夏冉设计团队:纪玉洁、闵志伊、刘宇晗、赵鑫鑫展览管理:吴鹏、马亮、宿世存、荆鹏藏品管理:王春玲、崔然然、徐研、窦天炜、梅琦媒体宣传:何一沙、吴靖、贺伊飞、马方可官网文宣:王静智识中心:肖宝珍公共教育:任蕊、姚轶群、梁雯、王军财经事务:杨柳、门婧、寇蕾行政支持:蒋思妤、岳君瑶、张倩后勤安保:孙炜、陈小华、吕智发
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动见| 全球视野下对Motion Graphic 的思辨与研究

2023-08-05

前言“动见——国际动态设计展”是一次全球视野下对动态平面(motion graphic)展开的思辨与研究。我们以“动态性”为核心议题,探讨运动中的视觉何以成为一种思维路径、审美章法和传播语法,影响并改变了当代设计乃至视觉文化的转向与发展。展览以“动见”为主题,意为用动态性驱动的图形投射多个维度的创意灼见。从全球范围内选取的近60件动态设计力作,囊括了埃里希·布雷希布勒的经典动态海报,登贝工作室的DEMO动态设计节形象,泽维尔·蒙尼的无限循环图形,宋艺焕的趣味化交互动态设计,冈崎智弘的动态图像日记以及立入禁止的观念动态设计等。我们将动态性与空间属性结合在一起建构策展逻辑,结合每件作品的思维方法、美学特征、动态语法的衍变等,用十个贯通的空间动态模块深度挖掘对动态性的多元阐释。分别从动态文字、图形、颜色所隐喻的特定含义与信息;动态视觉的感知与认知拓展;动态传播媒介的迭代与更新;跨界算法和智能驱动的动态设计实验,提炼出“视觉隐喻、感知拓展、媒介迭代、跨域生成”四组视觉叙事。每种叙事都在不同的层面上探索其潜力,让观者在异彩纷呈的空间游走中洞见动态平面的智慧与意义。与此同时,“动见”亦有“以小见大”之意。动态平面有很大的潜力为静态视觉带来更多东西,并能超越静止图像而探索出更广和更深层的意涵。聚焦到设计教育层面,动态平面虽不构成一个学科,只是一个较小的微缩设计,但它可以链接多元领域和多样学科,编织一张交叉融合的巨大创意网络,以浓缩的信息和综合动态的图文表达,窥见生动的当代视觉生态。动态平面因其动态性和创新性的特征,关联着视觉形式、语言、媒介的设计革新,从而构建新的设计审美价值体系,激发设计教育的改革。此外,动态平面与技术、软件、社交媒体、创意产业紧密互动,有着积极的互塑关系,以小动能点燃视觉文化的重大革新。这也构成了本次策展隐藏的一条暗线。当下,极富视觉感染力和冲击力的动态平面无处不在,它以短视频、视频日志、动图、界面动效等方式充盈在我们的生活、工作与学习中,不仅改变了以往从静态维度认知世界的方式,更是成为一种当代生活方式。因此,我们更应该关注和了解动态平面。本次展览一方面正是希望可以为公众提供从不同维度走近和认知动态平面的契机;另一方面,基于学院美术馆的策展语境,力图能为动态设计教育提供有益的专业思考和策略探析,皆因动态平面而有所启迪。纪玉洁、刘钢2023年7月参展设计师/工作室及作品登贝设计(Studio Dumbar/ DEPT®,荷兰)阿迪达斯 Futurenatural项目 Adidas Futurenatural创作年份:2022年媒材:2D 动画时长: 10秒登贝设计(Studio Dumbar/DEPT®)是一家荷兰的国际设计机构,专注于视觉品牌和动态设计。Futurenatural是阿迪达斯的鞋履创新项目,登贝设计对图形纹样的探索是动态的、流动的和独特的,并与与阿迪达斯品牌的精神有着逻辑上的联系:该项目的篮球鞋设计基于几千名运动员的脚部扫描,并采用一片式无缝鞋模,保证了完美的足部贴合度,登贝设计的图形和动态设计体现了这一产品特质,并被应用到产品本身的设计中。它的设计方式使其能够在不同尺寸和生产工艺都能起到很好的识别性:从广告牌到标签刺绣,再到鞋子产品本身的材质细节。扎克·莱伯曼(Zach Lieberman,美国)每日草图Daily Sketching创作年份:2020-2022年媒材:2D动画, 3D 动画时长: 42秒(29张动态海报合成)扎克·莱伯曼(Zach Lieberman)是一位艺术家、研究员和教师。扎克·莱伯曼在四十岁的时候,决定开始一个名为“每日草图”的艺术实践,即用计算机代码来创作小型的艺术作品。每天,他都会在社交媒体上发布当日作品。这样一种极其开放的工作方式改变了他对艺术创作的理解。埃里希·布雷希布勒(Erich Brechbuhl,瑞士)海报作品合集Posters Collection创作年份:2014-2021年媒材:2D动画,3D动画时长: 2分钟(15张动态海报合成)埃里希·布雷希布勒(Erich Brechbühl)是一位独立平面设计师,现居瑞士卢塞恩。埃里希认为,“虽然最近几十年,海报的发展一直不被看好,人们认为海报终有一日会成为过去的事物。但事实并非如此。一张好的海报应当具有强有力的画面感,可以和观众直接交流。海报也可以张贴到社交媒体上。如果它本身足够亮眼,那么自然会吸引人们的注意。”塞西莉亚·埃利希(Cecilia Erlich,西班牙)动态作品合集Motion Collection创作年份:2019-2022年媒材:2D 动画,3D 动画时长: 3分45秒(15张动态海报合成)塞西莉亚·埃利希(Cecilia Erlich)是一位视觉艺术家,擅长动态设计和平面设计。参展作品为短片的合集,创作时间为2019年至2022年。艺术家在这组动态图像实验作品中穿插运用了抽象概念、视觉诗歌和几何图形。她尝试对传统的平面设计要素做一些调整,通过不断变幻字体、字形和其他要素,使其烙上色彩、空间、节奏和时间的印记。宋艺焕(Yehwan Song,韩国)反友好 Anti Friendly创作年份:2021年媒材:交互程序,影像时长: 1分钟宋艺焕(Yehwan Song)是一位来自韩国的网页艺术家、设计师。她的艺术作品主要为虚拟网页、现实装置、网页工具和用户界面。她追求多元性胜于一致性和高效率。宋艺焕设计了一系列的“反友好”项目。“反友好”项目旨在为使用者构建不好用的设备和界面,挑战传统的用户友好设计理念,扭转大众对网页设计的常规理解,从而让人们将关注重点转到内容本身。从某种意义上说,“反友好”也是一种自我关怀的形式。德克·科伊(Dirk Koy,瑞士)空域 luftraum创作年份:2019年媒材:3D 动画,声音,影像时长: 2分55秒德克·科伊(Dirk Koy)毕业于巴塞尔艺术与设计学院 (HGK Basel)的视觉传达专业,是一位电影制作人、艺术家。德克·科伊他擅长运用不同技术(无人机/2D和3D动画/摄影测量法/AR/VR)来创作动态数字影像,并使用数字手段来制作与场景、物体和生命体相关的摄影和影像。他尤为关注自然环境和数字环境的碰撞与过渡,并致力于研究现实与虚拟之间的界面,颠覆观众对焦点和视角的认知。2016年,他创立了Dirk Koy Bild und Bewegung,一家动作设计和实验电影工作室。立入禁止(STUDIO NA.EO,中国)被遗弃的设计2021-2022 Biennial Work创作年份:2022年媒材:2D动画,3D动画,影像,声音时长:  6分21秒立入禁止工作室是一家来自北京的设计工作室,于2005年重组。其成员由设计取向完全不同的创意人组成,从事平面设计、插图、交互界面、出版、策展等,具有极强的跨界性。参展作品“被遗弃的设计2021-2022年作品集”,将两年中未能落地的设计项目进行了梳理总结。“我们发现绝大部分项目的执行经历与《哈利波特》中魔法咒语可以一一对应,于是将它们进行匹配,最终选择以Motion Graphic的方式呈现,我们认为在脱离语境的情况下,Motion Graphic可以更清晰的诠释那些‘被遗弃’设计的概念,是已死的设计在另一种维度上的投射。”another design(中国)2017广州影像三年展 2017Guangzhou Image Triennial创作年份:2017年媒材:2D动画,声音时长: 43秒2021广州影像三年展2021Guangzhou Image Triennial创作年份:2017年媒材:2D动画,声音时长: 43秒another design 是一个跨媒介的视觉沟通团队,多学科的融合让他们不再拘泥于设计的形式,而更专注探索视觉设计在不同领域中的沟通功能与特性。他们的工作跨越文化和商业设计 , 寻求文化品牌和商业品牌项目的共通诉求,为客户提供专业有效的视觉沟通方案和策略。工作室为2017广州影像三年展进行了主视觉设计,将“复相”理解为一种多重的、共时的存在,“叠影”则强调着不同影像媒介之间的复合性与跨越性,用电脑软件把文字重叠、拆分,生成一些随机的、多变的图形以呼应展览主题。2021年another design再次担任此展览的主视觉设计,这次将文字打散、重组形成流动的,混合的画面,来回应“交融的激流”的展览主题。希望透过不同尺度的纠缠与相互波动,将地球塑造为一种介于人与非人、身体与物质、精神与能量之间的生成性网络,并呼吁行动、思想和知识的重生。    非白工作室( Transwhite Studio,中国)大脑花园 Brain Garden创作年份:2023年媒材:2D动画,3D动画,声音时长: 45秒非白工作室(Transwhite Studio)于2011年在杭州成立,是一家兼具实验性与多元性的视觉设计机构。非白工作室以平面设计为核心来进行多元化的拓展,其设计领域涵盖展览设计、活动设计、实验与跨界合作,致力于为商业和文化领域的客户提供系统设计服务。“大脑花园” 通过动态视频视觉叙事的方式来传递“大脑花园”的主题语境。用图像,色彩和文本的视觉元素去回应青年创作者“大脑”的感知世界:迷惑、混沌、闪现、探索、实验、开阔、生长;艺术如同“花园”,理想的种子在土壤里生根发芽,蔚然生长,绚丽绽放。4aC Design(中国)紊乱 Chaos创作年份:2023年媒材:2D动画,3D动画,声音时长:  47秒4aC Design是一家视觉艺术工作室,2020年成立于北京,主要围绕品牌形象、展览策划和独立艺术创作三个部分展开。工作室试图以平面设计作为方法编织一张新的意义之网,丈量当下不同文化与人群间的尺度,在单调的现实世界中建立一种更加新奇的视觉关联机制。《紊乱》是工作室为“动见”展定制的最新动态设计作品——“网格是丈量世界的元视角,浩如烟海的坐标中,注意力所倾注之处,便是万千思绪茂盛繁衍的基点。回望时,这种紊乱或许已经替代了逻辑本身,成为了一种隐性的创作路径。”关于展览的空间视觉呈现此次“动见——国际动态设计展”由比利时Barco独家提供艺术投影设备支持, 共使用10台UDM系列投影机。该系列以3DLP芯片搭载Barco独有激光光源的尖端配置,投影亮度超过2万流明,不仅实现了动态平面作品的“真实还原”,为观众创造了引人入胜的沉浸式观感,还让观众与艺术作品投影形成新式“互动”,激发了展览场域融入性和包容性的潜力。展览信息:动见 ——国际动态设计展展览时间:2023年7月8日~8月20日展览地点:中央美术学院美术馆2层A展厅主办机构:中央美术学院美术馆协办机构:北京创意品项艺术投影设备:Barco学术主持:邱志杰   学术顾问:靳  军    展览总监:张子康、韩文超展览统筹:王春辰、高  高策 展 人:刘  钢、纪玉洁、罗伊·特霍斯特策展助理:喻湘洁视觉设计:税洋珊、庄海超空间设计:赵囡囡、孙文萍、赵鑫鑫参展艺术家(按英文名称首字母排序):another design(中国)、塞西莉亚·埃利希(Cecilia Erlich,西班牙)、康纳·坎贝尔(Connor Campbell,英国)、德克·科伊(Dirk Koy,瑞士)、埃里希·布雷希布勒(Erich Brechbuhl,瑞士)、罗布和罗宾(Rob en Robin,荷兰)、登贝设计(Studio Dumbar,荷兰)、菲克森独立设计工作室(Studio Feixen,瑞士)、立入禁止(Studio NA.EO,中国)、冈崎智弘(Tomohiro Okazaki,日本)、托尼克(Thonik,荷兰)、非白工作室(Transwhite Studio,中国)、泽维尔·蒙尼(Xavier Monney,瑞士)、宋艺焕(Yehwan Song,韩国)、扎克·莱伯曼(Zach Lieberman,美国)、4aC design(中国)
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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

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!
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