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.

: The Nefertiti Bust Meets the 21st Century

2019-12-06

The Nefertiti bust, created in 1345 B.C., is the most famous work in the collection of Berlin’s Neues Museum. The museum has long banned its visitors from taking any kinds of photographs of the bust, but recently, artist and 3D scanning expert Cosmo Wenman announced that the museum has sent him a flash drive containing full-color scans of the famous artifact, and published these scans online for free download.It took Wenman three years of legal battle to achieve the access of the data. In 2016, a digital replica of the bust was published to the world. While the Neues claimed that it was made by two artists who smuggled an entire 3D scanning rig under trenchcoat into the museum, the art world didn’t really buy the story, as the digital scan was simply of too high a quality. A leak rather than heist, they believed. Wenman further submitted a request citing German freedom of information laws that apply to state-funded institutions including the Neues. Although the museum first offered him the chance to view the scans under supervision, but they eventually collapsed and gave Wenman the high-resolutions, full-color scans.“It’s very difficult to find anyone who is able to actually articulate a coherent reason for keeping this kind of data away from the public,” Wenman tells artnet News. “I believe their policy is informed by fear of loss of control, fear of the unknown, and, worse, a lack of imagination.”However, the scans are not the perfect replica of the bust - the Neues etched a digital copyright license into the bottom of the bust, claiming the authority to restrict how people might use the file. It used a Creative Commons Attribution, NonCommercial, Share-Alike license, requiring people to give the museum attribution, not use it for commercial purposes and allow other people to make use of your version. Failure to comply with these requirements would mean infringement on the museum’s copyright - a copyright in the scan of a 3,000-year-old sculpture created 3,000 miles away.According to Michael Weinberg, executive director of the NYU School of Law’s Engelberg Center on Innovation Law & Policy, although EU copyright law does not make clear about the status of 3D scans of public domain works, it clarifies that digital versions of public domain works cannot be protected by copyright. The Neues’ etching is practically meaningless, but even though Weinberg is afraid that the message could discourage those who would use the 3D scans in classroom and art creation, and prevent people from holding the piece in a virtual reality world.What’s more, such restrictions are against the entire mission of museums, which should maintain and share cultural heritage to make sure people have access to our collective history. The incident also triggers debate on how museums should handle digital artifacts - while many museums create three-dimensional scans of their artifacts, only some have made the scans available to the public.Source | Slate, SmithsonianAuthor | Michael Weinberg, Theresa MachemerEditor | Lu Yufan
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: "Sketches and Oil Paintings of Pan Shixun" Exhibition Opens on December 3

2019-12-02

Time: 2019/12/3 16:00 Location: CAFAM Lecture Hall
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: Xu Beihong and His Time" Exhibition Tours in Jinan

2019-11-28

Co-hosted by CAFA Art Museum, Publicity Department of Jinan Municipal Committee of the Communist Party of China, and Jinan Department of Culture and Tourism, as the 2018 annual communication and promotion project of National Art Fund, "Xu Beihong and His Time" exhibition is now touring in Jinan, Shandong. On November 23, its opening ceremony was held at the Jinan Art Museum, participated by over 1,500 people including Jinan municipal officials, art practitioners, scholars and educators from Shandong Province, CAFA professors including Director of the CAFA Art Museum Zhang Zikang and the exhibition's curator, Director of Department of Publications at CAFA Art Museum Hong Mei. The ceremony, hosted by the Director of Jinan Department of Culture and Tourism Zhi Liang, began with a promotional video that reveals the splendid achievements of modern Chinese art masters led by Xu Beihong and the significance of the exhibition, which approaches the art world of the master from a new, contemporary perspective. Wang Shaojun, Deputy Director of CPC Committee of CAFA, Yang Feng, Director of Publicity Department of Jinan Municipal Committee of the Communist Party of China, and Zhang Wang, President of Shandong Artists Association, also gave their speeches.Wang Shaojun, Deputy Director of CPC Committee of CAFA, gave his speech.In his speech, Wang Shaojun said: "There's a special significance of the ‘Xu Beihong and His Time’ exhibition's tour in Jinan. On the one hand, Mr. Xu has a history with Jinan. After he went back to China from his study in France, his painting of grand historical events were inspired by Jinan's history; on the other hand, as an important art province in China, Shandong has been attaching great importance to the inheritance and promotion of traditional culture." Wang also expressed his hope for CAFA and the Jinan art circle to have more cooperation in the future.Yang Feng, Director of Publicity Department of Jinan Municipal Committee of the Communist Party of ChinaZhang Wang, President of Shandong Artists AssociationGuests at the ceremony inaugurated the exhibition together.After the ceremony, the exhibition's curator, Director of Department of Publications at CAFAM Hong Mei gave a guided tour of the exhibition.The tour was followed by a symposium around the exhibition. It was hosted by Deputy Director of Jinan Art Museum Zhang Hui, and Hong Mei as the academic presenter. Over 50 scholars, including Deputy Director of CPC Committee of CAFA Wang Shaojun, former director of the Department of Mural Painting Sun Jingbo, Director of the School of Plastic Arts, CAFA and Director of Department of Oil Painting Ma Lu, Director of CAFA Art Museum Zhang Zikang, attended the symposium.Wang Shaojunformer director of the Department of Mural Painting Sun JingboDirector of the School of Plastic Arts, CAFA and Director of Department of Oil Painting Ma LuDirector of CAFA Art Museum Zhang ZikangDirector of Chinese Painting Research Department at CAFAThe exhibition's curator and Director of CAFAM Department of Publications Hong Mei and Deputy Director of Jinan Art Museum Zhang HuiThe symposium centered around the topics "Xu Beihong and His Time", "Reform, Innovation and Development of Chinese Painting", "Formation, Development, Influence and Significance of Xu Beihong Educational School" and the relationship of Xu Beihong and the artists of his time with the context of Shandong. The "Xu Beihong and His Time" exhibition is based on the precious collection of CAFA Art Museum, and exhibits over 110 works by 34 artists of Xu Beihong's time. This is the first time that either Jinan City or Shandong Province holds a large-scale exhibition of modern Chinese art masters since the foundation of New China.The exhibition is presented in two parts: "Pursuit of the Time" and "Inheritance of the School". The first part sets out from Xu Beihong's art, and develops around Xu's realistic artistic idea and his like-minded companions who strived to reform Chinese painting, summarizes Xu's broad, multi-field social connections, and presents the various explorations of modern Chinese art in the 20th century with works of Qi Baishi, Huang Binhong, Zhang Daqian, Chen Shizeng, Fu Baoshi, Ye Qianyu, Li Keran, Jiang Zhaohe, Chang Shuhong and Li Kuchan. In the second part, the exhibition studies the art approach of Xu Beihong, Wu Zuoren, Ai Zhongxin, Sun Zongwei, Li Zongjin and Feng Fasi that supplemented with art education, along with the influence of Xu Beihong's art educational practice and inheritance on the 20th century Chinese art.Through an overall and deep summay of the art and influence of Xu Beihong and his time, clarify the history of development of 20th century Chinese art, and review the formation of 20th century Chinese art, the exhibition has special significance for the current development of Chinese art.The exhibition will last till December 10 (The museum opens on Monday during the exhibition.)Chinese text by He YifeiPhoto by He Yifei and Yin Xiang
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: Lecture Info | Design Critism and Curatorial Studies Lecture Series: Alice Rawsthorn

2019-11-27

A Brief History of Design Criticism & Design as an Attitude
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: First Chinese Iconographic Archive Is Launched

2019-11-26

The first iconography thesaurus targeted at Chinese art was recently launched by the Victoria and Albert (V&A) Museum. The Chinese Iconography Thesaurus (https://chineseiconography.org) program is led by Zhang Hongxing V&A senior curator in Chinese painting and graphic art, and was established in 2016 under support from the UK Department for Digital, Culture, Media & Sport (DCMS). According to Zhang Hongxing via The Art Newspaper China, although iconography can be dated back to a century ago in western art research, it is still underdeveloped in China, where current museum collection catalogues only allows searching by work title, author, time and material.Although the western iconography thesaurus is quite established, it is based on categorization of western art, while some ancient Chinese phrases (for example, “cat”’s alias was “li nu (狸奴)” in ancient China) and unique Chinese cultural concepts, like some concepts from Chinese Buddhism and Daoism, don’t apply to the western system. This also sets the stage for a separate iconography system for Chinese art.The CIT is based on the Iconclass system. Now it’s still a demo, only including 2,688 works of art collected by the V&A Museum, the Metropolitan Museum of Art and the National Palace Museum, and seven categories of over 10,000 keywords in total.“These keywords are not imagined by us out of no where. They are built upon collections, especially records of these collections.” Zhang Hongxing said. His team drew information from ancient records of objects, painting and calligraphy, especially the Shi Qu Library of Treasured Works and Midian Library of Palace Treasures of the Qianlong Emperor’s reign in Qing dynasty, referred to the experience of the Chinese libraries in the early 20th century on transferring ancient books into modern knowledge classification, and extracted keywords manually, as computer-generated keywords still contain many errors.In the future, the CIT program plans to expand its keywords to 30,000 to 40,000, and obtains the access of more museums and libraries’ collection images. Zhang Hongxing hopes the program can become an online library, categorization tool and image gallery for researchers, curators and art buffs.Source | The Art Newspaper ChinaAuthor | Chen LuEdited and translated by Lu Yufan
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: Art Engagement and College Curriculum: Strategies for Collection-based Teaching

2019-11-22

Liliana Milkova is a curator of academic programs at the Allen Memorial Art Museum (AMAM) of the arts institution Oberlin College in Ohio, USA. The museum houses an encyclopedic collection of over 15,000 objects and has served the academic community across disciplines and programs since its opening in 1917. For years, Milkova and her colleagues have been devoting themselves to placing the museum on the campus map, helping develop effective curricular programs that could maximize the advantage of the museum’s collections regardless of disciplinary focus or course level. In an article for University Museums and Collections Journal, Milkova summarized their experience into some strategies for academic museums and galleries on building successful outreach programs.The Allen Memorial Art Museum (AMAM) of Oberlin College (Photo via college website) • Create a full-time position for a trained art historian, archeologist, anthropologist or another specialist with interdisciplinary background, deep knowledge of material culture, extensive teaching experience, and dynamic and engaging personal style to conduct outreach to the academic community. • Work with your campus teaching and learning center to determine awareness of and interest in object-based pedagogies among the faculty, as well as the constituencies that would benefit the most from them. • Secure the support of the museum/gallery director and the college/university’s academic deans; be prepared to discuss the benefits of teaching with art and to present data from other institutions. • Develop short informational sessions on teaching with collections and implement them within existing pedagogy workshops, departmental meetings, training sessions, academic gatherings, centers, etc. • Enlist faculty who already have taught with collections to share insights and conduct short teaching demonstrations for their colleagues who can see first-hand the kinds of learning experiences that can be orchestrated for their students. Allow time for discussion and collective brainstorming. • Design museum/gallery workshops specifically geared towards all newly hired faculty and select new staff members. Include interactive components and presentations from current faculty. Conduct workshops before the start of the academic semester, so there is sufficient time for faculty to conceive of and add museum visits to their syllabi. • Establish clear rules or expectations for individual roles when planning and implementing museum class sessions. • Seek investment from the art history and studio art departments in making art accessible and relevant to all academic disciplines and in utilizing tools and methods from art history, an intrinsically interdisciplinary field. Typically the most frequent users of the museum, art history and studio art faculty may feel that expanding the museum’s integration into the curriculum might limit their and their students’ own access to the collection, so it will be helpful to secure their support and assistance early on. • Consider offering social occasions (such as receptions) to bring faculty and senior administrators to the museum and/or financial support (grants, fellowships) to faculty interested in working with curators and the collection to develop museum components for their courses. • Stress to all audiences that collections offer many possibilities beyond content-related connections. Also emphasize that works of art can be used as the vehicles for cultivating or enhancing a variety of skills and thinking dispositions. • Educate key campus populations about your museum/gallery’s operations, why museum rules exists and why they must be followed. • Produce short informational brochures (with concrete examples and useful tips) to distribute to faculty and staff. • Attend general faculty meetings and other events, where useful knowledge can be gained and the museum/gallery presence will be noted. Campus visibility for museum curators and educators is very important. • Consult other academic museum/gallery staff about strategies that have worked for them. • Identify courses with close ties to the collection and contact their instructors with concrete suggestions for artworks and ways to integrate them into the course syllabus. • Create opportunities for faculty from many disciplines to meet and mingle with the curatorial staff – often new ideas and collaborative projects emerge from exactly such situations. • Keep your museum/gallery staff informed about new pedagogies and what makes them effective for millennial learners.Source | University Museums and Collections JournalAuthor | Liliana MilkovaEditor | Lu Yufan
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: Dialogue Info | From Particle to Pixel: Inheritance and Expression of Contemporary Mosaic Language

2019-11-21

Time: 2019/11/21 (Thu) 14:00-16:30 | Place: CAFAM Lecture Hall
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: Lecture Info | Li Jun: Why Does Mona Lisa Smile? Science and Anti-science in Da Vinci's Art

2019-11-19

This year is the 500th anniversary of Leonardo da Vinci's death. As a versatile representative of the Renaissance, da Vinci has left the world over 20 paintings, 7,200 manuscripts that covered nearly all knowledge fields of his time. Taking "Mona Lisa" as an example, the relationship between Leonardo's science and art has remained an unsolved mystery even in the intellectual circle. The lecture is aimed to interpret da Vinci's images and texts, show how the complicated relationship between science and art had formed the unique artistic charisma of da Vinci, and provide a special approach as for solving the mystery of Mona Lisa's smile.
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: Upcoming Museum Sim Lets Players Combine Artifacts to Tell Cool Stories

2019-11-15

Finally, a museum-themed sim is about to come. Naming the sim Mondo Museum, its designer Michel McBride-Charpentier said it’s intended to represent an ideal version of what museums can be.In the game that is scheduled to come in 2020, players will build and curate museums, mixing and matching artistic and historic objects. McBride-Charpentier said that the game won’t feature any fictional art or fictional history. What’s more, the sim will encourage players to contextualize history by combining different objects across time and regions. For example, McBride-Charpentier plans to put in the game a collection of space-related objects, and players could combine models of the solar system with artifacts from ancient Egypt to show how Egyptians understood astronomy. “The goal is to get players to seeing these relationships between items from separate collections and how they might combine together.” McBride-Charpentier said.McBride-Charpentier said he was inspired by his research trips to prestigious museums in the United States and Canada, especially how those museums mix a variety of objects together. But he also emphasized that the game won’t reflect what the museums currently are, but will be “a more utopian version of what museums should be like” - for example, there won’t be security guards in the game, and players will have to manage the wear and tear on exhibits from handsy visitors themselves; and the game won’t uphold the often exclusionary system of large museums, including the practice of holding onto artifacts that were looted from their countries of origin. If players want to showcase objects from different origins, they will have to ask loans from museums where these items rightly belong, and in order for the loan to succeed, players also need to have their museums checked by the museum directors, to see if it’s good enough to display their items.McBride-Charpentier said he wants to create a game that both satisfies management sim diehards and helps players to see real-life museums in a new light.Source | KotakuAuthor | Gita JacksonEditor | Lu Yufan
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: CAFAM Opens 3rd EAST Art x Technology Season

2019-11-14

EAST-Art x Technology Season Opening Ceremony The 3rd EAST Art x Technology Season Opening Ceremony was held at CAFA Art Museum on November 15, 2019.The event is hosted by CAFA, and organized by CAFA Visual Art Innovation Institute, CAFA School of Experimental Art and CAFA Art Museum. This year’s Art x Technology Season’s theme is “Global Technological Art Panorama of the New Era”, which would further summarize the latest research results and creations in the field of technological art in the world, discuss relevant experience and methods in global technological art education, and exchange views on how to build technological art teaching system in China, how to combine technology and art and how to apply the results of technological art creations, so as to promote the academic development in technological art education in China.Researchers, creators and principals from the University of Chicago, the New York University, the University of Copenhagen, the Welcome Trust and other universities and institutions participated the opening ceremony together with Chinese schoars.Except for announcing the initiation of the 3rd EAST Art x Technology Season, the ceremony also presents two special highlights.Highlight 1: Initiation of the 2020 Asia Digital Art ExhibitionThe first Asia Digital Art Exhibition was held in Haidian District, Beijing in May. The exhibition showcased over 30 artists from 10 countries and regions, presented the resonance between Asian culture and digital technology. In 2020, the exhibition will continue to present the latest results of Asian culture and technological art. The Asia Digital Art Exhibition and the EAST share the same mission and goal, that’s why CAFA announced the 2020 Asia Digital Art Exhibition at the opening ceremony of the EAST. The exhibition invited Professor Qiu Zhijie to be its curator, and invited artists, researchers, scientists and technological companies to participate, to together build a new platform that build cultural consensus and facilitate technological and cultural innovation.Highlight 2: Multimedia Opening Performance - Time Brings Great Changes to the WorldThe opening ceremony also invited Chinese multimedia art team Blackbow to do an opening performance titled “Time Brings Great Changes to the World”. The interactive installation was co-created by Professor Qiu Zhijie and Mr. Wang Zhi’ou, leader of Blackbow. It caught the keywords in the speeches at the ceremony real-time, and showed them successively in the four-fold landscapes respectively named “Characters”, “River”, “Lake” and “Mountains”. Each layer represented a different thinking dimension of the topics involved in the ceremony. As the keywords keep add up, the rivers, mountains and lakes they corresponded to extended, mounted and expanded, so as to visually present the sparks of ideas of the participating guests. EAST Schedule The EAST-Technology x Art Season take place in Beijing, Shanghai and Shenzhen at the same time. Lectures and workshops that have been held include “VR and Art in Reverse”, “Editable Future: The Technical, Ethical, Legal and Artistic Perspectives of Gene Editing”, “Gene Editing Workshop”, “Tencent Game and Creative Product Workshop”, “Machine Learning Workshop”. Exhibitions include “40 Years of Humanizing Technology” and “Mind the Deep: Artificial Intelligence and Artistic Creation”. On November 15-17, the International Conference on Education, Art, Science and Technology and Enterprise Innovation Forum were also held.
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Group Public Education Event Reservation Form

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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.