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.

: How the Museum of Chinese in America emerged from a fire and pandemic lockdown

2022-03-05

On an evening of January 2020, a five-alarm fire broke out at 70 Mulberry Street in New York, in a historic building in Chinatown that housed 85,000 objects in the collection of the Museum of Chinese in America (MOCA), a small institution located a few blocks away. The blaze posed an existential threat to the institution’s 40-year effort to document and preserve the experiences and achievements of people of Chinese descent in the United States, with photographs, textiles and garments, business signs, and movie posters among the many items endangered.In March, the museum staff completed the six-week-long retrieval process and discovered that 95 percent of the holdings had survived, despite some water damage. But then came the coronavirus lockdown, which could be disastrous for a small museum like MOCA, which lives by an annual budget of $2.8 million. Subtracting from hundreds of thousands of dollars in rent, it leaves little room for experimentation or expansion even in the good time.But the museum saw a silver lining in the fall of 2020, when they received a $3.1 million grant as part of the Ford Foundation’s America’s Cultural Treasures initiative, among 20 institutions across the US. According to MOCA’s president Nancy Yao Maasbach, they would use $100,000 from the grant for technical projects, such as revamp of its website, and the remaining $3 million for conservation of the objects harmed in the fire and offset in part the museum’s pandemic-related losses. The grant will also enable the museum to expand access to its educational programs digitally, so as to reach a national audience.Recently, the museum also formed a consortium with 28 other Chinese American historical museums around the US. While the museum industry in the US is still learning to tell local history, the partnership would create wonderful national repository of shared resources for exhibitions and other initiatives.The fire has already become a part of MOCA’s history, and as part of a partnership with Google Arts & Culture, the museum opened a virtual exhibition titled “Trial by Fire: The Race to Save 200 Years of Chinese American History” in January, one year after the blaze. The exhibition features news clips, photos, videos pulled from social media, and more records that trace the fire’s impact and the museum’s retrieval and recovery process. At the same time, the museum added images of more than 200 objects from its collection to the platform. In the future, when the health measures permit, the museum also hopes to have conservation students engage in hands-on work with fire-damaged items.In addition to new programs and other opportunities the America’s Cultural Treasures grant will afford, Maasbach and her team are making a pledge to remember the museum’s past struggles, resist tokenization, and advocate for under-recognized artists and cultural organizations.“I think our role is now to be responsible - I feel like a chosen one,” she said. “The fear I have is that we forget where we came from, and that’s something we’re holding each other accountable for. You’ve got to work harder to create equity.”Source | ARTnewsAuthor | Claire Selvin
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: This miniature museum exhibition will show tiny works by famous artists

2022-02-17

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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: V&A Dundee closes to general public to enable Sensory Friendly Days

2022-02-08

Around one in every five Scots define themselves as living with a disability, but according to a research conducted in 2020 by Kids in Museums, Autism in Museums and SEND in Museums, 71% of families with children who have special educational needs and disabilities felt museums were too crowded to visit.After its opening in 2018, V&A Dundee has held Sensory Friendly Morning sessions, scheduled between 7:30 and 10am, and evening sessions for people who have anxiety about crowded spaces, but it later found out that the scheduling either excluded people who can’t rise early in the morning or added cleaning pressure to the staff. The museum eventually decided to close to general public for one day, and open to neurodiverse people specially. V&A Dundee was welcoming around 7,000 people per day at its peak before pandemic, and according to Claire Madge, founder of Autism in Museums, it was actually the pandemic that made such daily events possible, as museums were expecting fewer regular visitors due to social distancing demands.The Sensory Friendly Days run between 11am and 4pm. The museum takes precautions to avoid any queues or loud tannoy announcements and makes certain all staff on shift have received a high standard of training in order to provide the support visitors may need. What’s more, it also guarantees equipment of high calibre available on site - V&A Dundee co-developed new sensory backpacks with local non-profit PAMIS, which varies according to each exhibition and includes a selection of objects that both meet the needs of people who will be interacting with them and encourage people to directly engage with the exhibits. For example, for the exhibition "Night Fever: Designing Club Culture", the museum had transparent neon purple, green and orange backpacks prepared, so that users may not fear about reaching into a bag of unknown objects.“It is vital that we understand the distinctive needs of people who are often excluded from society,” notes PAMIS volunteer Rachel Persheyeva. “By focusing on these needs, and working to remove barriers in the lives of people with profound and multiple learning disabilities, we can help them to achieve equal access to society.”The current model is run under the museum’s charity learning program, and although such events don’t usually generate income, the museum’s access and inclusion specialists hope that the initiative is perpetuated regardless of its financial impact.Source | Museums+Heritage
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: Museum uses artificial intelligence to watch visitors

2022-01-14

The Bologna Museum in northern Italy is turning its gaze onto art lovers with the help of AI.
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: Focusing on the Design for Olympic Games

2022-01-06

With the Olympic Winter Games coming to town, the world is now focusing on Beijing: the first ever city that hosts both Winter and Summer Olympic Games. As early as 2003, a design team from CAFA has already designed a series of elements for the Beijing 2008 Summer Olympics, including color system, key images, medals, the Paralympic symbol, official posters, and landscape for Olympic Torch Relay. Now, CAFA and the Beijing Organizing Committee for Olympics joined hands once again, to design Olympic and Paralympic symbols, sports icons and official posters for the 2022 Beijing Winter Olympic Games. Furthermore, CAFA also took part in the design programs of the Olympic Torch, medals, and stadiums through research and learning. These are nevertheless a glorious experience for the designers, as well as CAFA.Recently, CAFA invited professionals involved in the design work for the Olympic Games, to share their stories behind the Olympic designs. The talk was hosted by Huang Li, the Deputy Director of School of Continuing Education and Secretary General of CAFA Intellectual League. Participants include Lin Cunzhen, Deputy Director of School of Design and Director of Landscape Art Design at the Culture Department of the Beijing Organizing Committee for Winter Olympics; Deputy Director of School of Design and the Intellectual League’s Council Member Jin Jun; School of Design professor and the Intellectual League’s Deputy President of Council Xiao Yong; School of Design professor and the Intellectual League’s Council Member Li Wei; School of Design lecturer Liu Xiao and School of Design doctoral candidate Lin Fan.Lin Cunzhen, Deputy Director of School of Design and Director of Landscape Art Design at the Culture Department of the Beijing Organizing Committee for Winter OlympicsBrand design system for the 2022 Winter OlympicsSchool of Design professor and the Intellectual League’s Deputy President of Council Xiao Yong2022 Winter Olympic and Paralympic symbolsJin Jun, Deputy Director of School of Design and the Intellectual League’s Council MemberMedals for the 2022 Beijing Winter OlympicsMedals for the 2022 Beijing Winter ParalympicsKinetic sports icons for the 2022 Beijing OlympicsSchool of Design professor and the Intellectual League’s Council Member Li WeiMedals for the 2008 Beijing OlympicsSchool of Design lecturer Liu XiaoSchool of Design doctoral candidate Lin FanHuang Li, the Deputy Director of School of Continuing Education and Secretary General of CAFA Intellectual LeagueDesign for the 2008 Beijing Olympic Games TorchDesign for the 2022 Beijing Winter Olympic Games Torch
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: Newly Arrived: Essays on Theories and Methods of Art Museum Studies

2021-12-31

The book Essays on Theories and Methods of Art Museum Studies is a collection of experiences and achievements shared by our peers. Together they form a valuable communication space that could benefit the further development of art museum industry and the discipline of art museology.
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: "How Can it be Art: From Object to Theory" is Officially Published

2021-12-30

How Can it be Art: From Object to Theory is a collection of essays by international and Chinese scholars that discuss the theories of renowned philosopher Arthur Danto.
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: 3D scans to accompany British Museum spotlight tour

2021-12-29

Following the exhibition "Troy: myth and reality" shown at British Museum November 2019 to March 2020, it will travel to Reading, Surrey and Dundee from September 2021 to August 2022. The tour will be featuring 3D scans of objects that visitors can access through mobile devices in-situ or at home.Four objects from the exhibition were 3D scanned. The British Museum has collaborated with Sketchfab, a platform sharing 3D, virtual and augmented reality content, to provide close access to the objects. These include and Etruscan urn that portrays Helen, the Greek queen abducted by the Trojan prince Paris, and an Athenian amphora depicting Achilles exacting revenge on the Trojan prince Hector after the death of his lover Patroclus.“Following the success of the Troy exhibition at the British Museum, it is very gratifying to be able to bring an exciting selection of related objects to audiences around the UK thanks to the Museum’s National Programmes,” said Victoria Donnellan, the co-curator of the exhibition. “The ancient story of Helen and Achilles is a fascinating one and I’m so pleased we can portray the various facets of beauty and heroism through these rich objects, especially with the 3D offering."Thomas Flynn, the cultural heritage lead at Sketchfab, said: “This latest collaboration for Troy: beauty and heroism is a wonderful example of how online 3D can help cultural organisations reach and engage with national and international audiences in modern and forward-thinking ways.”Source | Museums AssociationAuthor | Rebecca Atkinson
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: Covid has improved disabled people’s engagement with museums, study finds

2021-12-23

Cultural development organization Screen South and Accentuate consultancy launched a new report that offers new insights into disabled people’s engagement with museums as both workers and audiences.The report, Curating for Change: Disabled People Leading in Museums, explores the current landscape of museum engagement for D/deaf, disabled and neurodivergent people following a consultation involving surveys, phone conversations and workshops within 170 disability-focused groups and individuals.A key finding was that almost all the consultation participants thought that the Covid pandemic had presented a positive opportunity in terms of flexible remote working, interview practices and digital engagement for audiences. For disabled museum workers, their flexible working requests are taken more seriously now when previously such requests had been denied. Working remotely online means lower costs of remote training, an easing of the monetary and physical burden of travel, which are to the benefit of disabled museum workers, who are more likely to be economically disadvantaged and impacted by poor access provision when traveling.As audiences, however, D/deaf, disabled and neurodivergent individuals and groups noted a lack of representation within museum collections, exhibitions and events. Disability history, stories and collections are “rarely shared” in museums, and are often interpreted by non-disabled staff when included. Participants also expressed a desire to work more closely with museums to co-produce content and outputs.Accentuate also worked with 16 partner museums, including the Imperial War Museum and Museum of Liverpool. All museums showed interest in becoming part of a network of organizations supportive of disadvantaged staff and audiences. However, the consultation also identified some of the museums’ barriers to engage disabled people, such as "a lack of specialist contacts" and "a lack of understanding and/or skills to provide support".Other than providing survey results, the report also makes recommendations for museum to make their recruitment process more accessible to disabled people, and tips of working with disabled people as audiences, such as reaching out to local disabled people’s groups, valuing disabled people as experts, and considering how disability heritage narratives can be included in new exhibitions or events.Source | Museums AssociationAuthor | Francesca Collins
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: Closing Notice

2021-10-28

According to the epidemic prevention and control work of Beijing, CAFA Art Museum will temporarily close from October 29, 2021 until further notice. We apologize for any inconvenience.
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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.