Exhibitions and Events-News

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

Are You Ready? On October 26th,Let's Look Back On the Ninety - Year History of Sculpture At CAFA and Jointly "Sculpt" The Future!

2024-10-25

15:00 on Saturday, October 26th.Follow the official account of CAFA Art Museum @ CAFA Art Museum on Douyin, WeChat Video Account, Xiaohongshu, and Bilibili.展览策展人曹庆晖教授将会带领观众从学术和展览策划的角度对雕塑学科进行阐释讲述中央美术学院雕塑系九十年的历史Professor Cao Qinghui, the curator of the exhibition, will lead the audience to interpret the sculpture discipline from the perspectives of academics and exhibition planning, and narrate the ninety - year history of the Sculpture Department of the Central Academy of Fine Arts.---------------------------------------------C A F A M直播介绍-------------------------------------------------------------------------------------------| 直播嘉宾 |曹庆晖中央美术学院人文学院教授委员会主任,美术史系教授,博士生导师,九三学社社员,专业致力于近现代中国美术史与美术教育史的教学、科研及展览策划。| 直播主持 |孙婷婷中央美术学院雕塑系直属党支部副书记直播通道抖音平台@中央美术学院美术馆小红书平台@中央美术学院美术馆哔哩哔哩平台@中央美术学院美术馆雕塑大系——中央美术学院雕塑学科90年主办单位丨中央美术学院 承办单位丨中央美术学院雕塑系 中央美术学院美术馆展览时间丨2024年10月22日—11月24日展览地点丨中央美术学院美术馆三层主编 / 何一沙 责编 / 杜隐珠视频制作 / 贺伊飞
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Seminar Review | “Jade · Encounter” as a Sculptural Method

2024-10-24

“广角°青年实验项目空间”第二期第六个展览:“玉·见广角——钱亮玉质媒材艺术研究展”把富于历史和文化意义的“玉”,引入广角空间,形成中央美术学院美术馆第一个关于玉石的专题性展览。艺术家钱亮借助对玉材的琢磨构造,用作品串联起遇玉、礼玉、琢玉乃至最后放空治愈的空间逻辑关系,以此展开对历史文化、社会生活、科学技术等方面的不同维度的探索与思考。玉,从美石到琢而成器后具有美德、美意,继以载道、藏礼,其独特性在于伴随着中华民族五千年文明的发展而生长,是中华民族独特的、从未间断的一种文化。如何更多地从文化、艺术层面去挖掘玉雕语言,并赋予玉新的时代性,是值得进一步思考和探索的。为此,策展团队精心策划了以“‘玉·见’作为一种雕塑方式”为主题的学术研讨会,从多个维度展开以“玉·见”为主题的学术探索与研讨。▲ ▲ ▲“‘玉·见’作为一种雕塑方式”学术研讨会研讨会现场2024年9月25日,“广角°青年实验项目空间”第二期第六个展览“玉·见广角——钱亮玉质媒材艺术研究展”学术研讨会如期举行。出席本次研讨会的专家学者有:清华大学美术学院长聘教授许正龙,清华大学美术学院长聘教授、雕塑系主任陈辉,中央美术学院教授秦璞、萧立,中央美术学院副研究员初枢昊,河北美术学院教授钱步辉,北京农学院副教授、园林学院艺术设计系主任李玉仓,北京服装学院副教授熊芏芏,汉泽西品牌创始人本心,安徽师范大学副教授郭兵要,中央美术学院讲师段牛斗,清华大学美术学院博士后柴鑫萌,清华大学美术学博士孟祥轲、张巧伶,清华大学美术学在读博士刘烽、赵毅伟、潘曦,巴基斯坦拉合尔教育大学在读博士赵覃,德国科布伦茨大学硕士薛仲泽,四川美术学院硕士王然,北京林业大学研究生李彦炅,北京农学院研究生张哲铭,本次展览的策展人中央美术学院副研究员曾小凤、策展助理付廷栋等。研讨会共分四场,由著名美术史论家、景德镇陶瓷大学教授宋伟光担任学术主持。研讨会学术主持宋伟光教授致辞艺术家钱亮首先介绍了与会的嘉宾学者,并对大家的莅临指导表示由衷的感谢。学术主持宋伟光教授开场阐述了“玉·见广角”的主旨不仅是一个聚焦,同时也是一个无限度的广角,指出钱亮玉质媒材创作的视角在传统与当代、中国与国际之间拉开了一场序幕。※  第一场  场与合  ※▍许正龙(清华大学美术学院长聘教授)许正龙教授从“合”和“场”两个核心精神,对钱亮的创作进行了重要评述。他讲到钱亮从小在玉文化的氛围中长大,早早就跟艺术、跟玉结下不解之缘。“合”意味着把东方和西方、传统和现代融合起来,以玉为媒材进行串联,用玉散落的碎片或者边角料进行组合、构造,将传统文化中的“物尽其用”“化腐朽为神奇”等理念融入其中,创造一种新的、当代的,具有探索性、实验性和观念性的作品。在这个意义上,“玉·见广角”所展现的就不是一个聚焦点,它是一个扩散的、开放的文化场域。“场”蕴含着空间场域的概念,在某些方面有点像磁场,两块磁铁放在一起,要么相吸,要么相斥,这种场的力量是看不见摸不着的。雕塑是有形的物,艺术家所要反映的理念在某些方面是我们看不见的磁场。钱亮的作品注重用可见之形去反映那些看不见的无形的力,这种无形的力将艺术家和观众、作品串联在一起。这里既包涵了中国传统文化的理念,也有我们当代人面对全球化、国际化的一种视野,这是中国当代年轻艺术家的角色和使命。▍陈辉(清华大学美术学院长聘教授、雕塑系主任)陈辉教授从“广角”发散的广度、宽度和深度三个层面解读了钱亮作品的“物性”。他认为钱亮是以一种平等心在对待物,贯穿了对于物的尊敬和对物的爱惜,以及对于物的一种观念的认识。在创作中,钱亮凭借他在西安美术学院、中央美术学院、清华大学美术学院三所高校的学习经历,将自己对空间的把握,以及空间和文化之间交替的东西,以“场域”的方式体现出来。《道德经》中对世界的描述,一种是固态的,一种是发散的,世界上的物质其实是聚则显、散则隐。钱亮创作的《再生之环》以圆融的形式以及光影的聚散,将文化和空间表达契合把握;《和光同尘》给人感觉很神圣,粉末往下飘,一束光打在上面的时候,有种宇宙起源创始的感觉。当代的玉,也就是钱亮手下的玉质媒材艺术,不是玩玉,是观玉,是品鉴玉的物性。▍秦璞(中央美术学院教授)秦璞教授从“时间与转换”“范式与当代”的关系上,认为钱亮使用玉的边角料进行创作是一种意识转变,他将融入我们中国人文化基因中的玉以一种别样和意想不到的方式展示出来。比如,解构和重构的方式,让我们看到钱亮手中的玉可以在空中像雪花一样飘舞,这和我们对于传统玉的理解完全不同。中国自古是一个农业国家,注重天、地、人三者的关系,玉在中国传统文化五千年的发展过程中,和中国人的“德”联系起来,比德于玉。从造型学上来讲,这就是质感。玉材料的质既决定了品质,也决定了它的精神性。钱亮的作品和当代场域发生关联,他是在综合性的把玩和感悟中,得到了一种精神的升华。▍萧立(中央美术学院教授)萧立教授从自己做雕塑的感受出发,认为钱亮对玉的探索已经回归到了对玉的本源的一种思考,提出“玉与生存”概念。在中国古代,一个玉璧能够引发一场战争,它牵涉到人的生存。玉从远古具有礼仪和国之重器的“器”,逐步成为中国人日常生活中喜爱的物件,“器”和“物”是两个极端。钱亮在器和物两个层面进行“合”的创作,如《叠翠》系列,玉的边角料和现代金属螺栓的结合,具有一种现代的古朴之感,引发人的思考和情感共鸣。▍初枢昊(中央美术学院学报编辑部副研究员)初枢昊副研究员谈到钱亮玉雕创作的独特性——“玉·见广角”体现了一种非常典型的展厅文化,展览将远古的巫玉、神玉、王玉的观念和历史较短、具有宫廷化、贵族化且价格昂贵的翡翠结合起来,而走向一条抽象化的具有现代性的艺术道路。在玉的形而下的材料层面,《和光同尘》让人联想到每一种玉材,不管是翡翠,还是青玉、岫玉、玛瑙等,不论价值高低,最后都化为粉末,带给人一种新的关于玉的价值和物性的思考。同时对钱亮的创作提出期待:翡翠大可不必遮蔽其美的奢华性,而完全可以张扬这一特征,彰显其美感的不可替代性,达到审美价值与经济价值在高点的统一。▍钱步辉(河北美术学院教授)钱步辉教授作为钱亮的父亲,他回顾了自己做雕塑和中央美术学院雕塑系老先生夏乙乔、史美英夫妇的历史因缘,从20世纪七、八十年代,他跟随夏乙乔先生学习雕塑和蚌埠玉雕厂的工作经历,以及去鲁迅美术学院雕塑系研究生班进修后的雕塑之路和如今复归玉雕创作,一直在雕塑和玉雕之间切换琢磨。钱亮受父亲的影响走上雕塑之路并进行玉质媒材艺术创作,又在西安美术学院、中央美术学院和清华大学美术学院诸位先生的指导下完成学业,最后回到中央美院任教,这是一种特殊的缘分。希望再接再厉,再出好成绩。※  第二场 破与立  ※▎李玉仓(北京农学院副教授、园林学院艺术设计系主任)李玉仓副教授从《说文解字》的角度谈起“玉”跟“王”的字型字义比较,引出传统文化中“玉”与政治、社会、国家的关系,指出中国的玉文化具有从传统的礼器到文人士大夫的把玩之物,再走进当下大众日常生活的过程。结合钱亮“玉·见广角”展览,玉从礼器到实用,从实用到欣赏,从欣赏到关注生活的情态,形成了对日常性的干预,这种干预带有批判性。钱亮玉质媒材作品的这种批判性是通过对日常生活题材的选取、雕塑构造方法的多元、展览方式的综合等手段来实现的,作为传统工艺美术属性的玉雕也因此打开了通向当代艺术的大门。整体而言,钱亮的玉质媒材艺术探索呈现出文化的自觉性。▍熊芏芏(北京服装学院珠宝首饰设计专业副教授)熊芏芏副教授从自身教学出发,认为钱亮对于玉质媒材的研究和艺术创作思维,让她在玉石首饰教学中深受启发和思考。钱亮一直致力于探索玉石材料的内涵与外延,由此及彼、由表及里地对玉石材质进行探索,深入玉文化内核并提炼其精华,深入传统,继而又走出传统。受其影响,熊芏芏在授课中鼓励学生从研究玉石材料质感的多维度出发,设立“玉问工作营”,引导学生围绕玉石进行提问式的辩证思考,通过“材料驱动”与“观念引导”的双重线索挖掘玉石在首饰设计中的多元化表现与人文价值。总的来说,钱亮以玉质媒材为驱动的当代艺术创作思维对当代首饰艺术教育的影响是积极而深远的。▍本心(【汉泽西】品牌创始人,独立设计师)设计师本心认为从玉行业的发展历程来看,钱亮是一位非常难得的当代玉文化传承的使者。钱亮的作品是润含深刻思考和人文精神在其中的,这完全是他学识阅历积淀后的输出呈现,也贴合他站位学院“教与授”这样师者兼创作者的身份。古语讲:“玉不琢,不成器”,她觉得钱亮的琢玉方法是“师琢”和“心琢”的合一。授业于道,载物于道,把玉材质和优秀文化相连,传播知学,反映当代情感与时代精神。钱亮的玉质媒材艺术创作及其策划的展览意义深远,正在弥补现代学院对玉雕艺术传承的缺失,这个过程是需要力量和担当的。如果说当代艺术如日中天,那么玉文化其实挺像月亮的,是我们民族精神里的诗歌与故乡。希望大家一起努力,创造出最美的“日全食”,中国玉文化的绝美奇境,也是我们共同期待的玉雕艺术的未来。▍曾小凤(中央美术学院国家主题性美术创作研究中心副研究员)曾小凤副研究员从破与不破、破与立的关系上,讲到钱亮玉质媒材艺术创作的三层含义:第一是形态,玉的边角料本身展现了一种独特的“破”的审美形态。第二是姿态,钱亮从早期做《物非物系列之破竹》以“不破”展现破竹,到《玉石·遇时》的一摔即成,彰显了一种不破不立、敢破敢立的姿态。第三是作为雕塑创作的方法论,如《再生之环》将那些破碎的、被机器切割的玉石边角料,形成“合”这一概念的具身化。“合”在这里既是艺术构成的形态和样式,还表现了艺术家在“破”和“立”方向上形成的“和合”的雕塑方法论。▍郭兵要(安徽师范大学副教授、雕塑专业负责人)郭兵要副教授从中国传统文化的当代转化角度,认为钱亮选点很巧。中国传统文化是一个浩瀚海洋,只有部分人能在这个浩瀚的海洋里取一瓢水,而钱亮很快找到了这个营养之源。他从早期的作品到现在的玉石,从选材到工艺,再到创作思维,都体现了一个“巧”字。另外他的作品又很“拙”,从传统工艺到玉文化,做到了大巧若拙。钱亮从传统的玉工艺而来,通过三大美院的科班培养,将当代艺术和传统玉文化结合,从中找到自己的语言,做到玉言玉语。▍柴鑫萌(清华大学美术学院博士后)博士后柴鑫萌认为钱亮的玉文化研究不仅系统全面,而且深具学术价值,他将理论研究与创作实践紧密结合,展现了坚实的学术功底。钱亮的作品巧妙地融合了传统与现代的元素,通过出人意料的重构、转折、和合,揭示了材料本身所蕴含的人文精神。他的作品在形式与内容上都体现出对传统美学的深刻理解和对现代审美的敏锐把握,他以富有哲思、诗性、柔和的创作手法,传达了玉材料“置之死地而后生”的韧性和品质。钱亮的艺术实践无疑为玉雕艺术的未来发展提供了新的可能性,也为美术学的研究提供了新的视角和思考。※  第三场 此与彼  ※▍孟祥轲(清华大学美术学博士)孟祥轲博士从“中式物语”理念延伸到对“诗性”的探讨,认为钱亮的作品中充满了由此及彼、关联想象的隐喻思维,关联着人文内涵、情感语义和观念语义,以“构造”(包括形式构造、材料构造和内涵构造)的方式形成语言,隐喻其语义内涵。同时,也以“存在”的方式体现出主体对自身环境和对象本身的存在性感知,作品中的观念性思辨常传递出一种不刻意为之的状态,以悖常凸显日常,带来新异感、陌生化、偶然性的诗性体验。▍段牛斗(中央美术学院人文学院非物质文化遗产研究中心讲师)段牛斗老师从事文化遗产的教学和研究,对工艺美术很有兴趣,他对钱亮艺术创作的理解主要有三点:第一,历史维度。中国玉雕有悠久传统,是民间美术和工艺美术领域的重要门类。很多人认为民间美术、工艺美术很难创新,而钱亮的创作既源于历史影响,也有个人经历,与活态的非物质文化遗产建立起关系并不容易。第二,空间维度。古代玉雕通常从属于贵族、女性、祭司等阶层或人群,或者在丧葬等特定场合使用,艺术功能其实是受限的。钱亮的玉雕需要突破社会功能限制,进入更广阔的空间当中,于是艺术语言也发生了变化。第三,技法与风格的统一。艺术史的基础是文献学、风格学,文献的定义容易理解,而风格必须有技术、经济等社会因素作为基础。钱亮玉雕风格直接源于技法,去掉了工艺美术原有的装饰意味,具备独特、多元的内涵。▍刘烽(清华大学美术学在读博士)作为连续两届担任“玉·见”系列展览策展助理的刘烽,认为钱亮的展览独具匠心,不仅是对作品的展示,更是通过材料与空间传达内在力量,以作品传递策展人与艺术家的深刻理念。钱亮对玉材的爱和坚持打动人心,通过与他的长期共事,体会到材料与人之间的深厚缘分。玉是一种灵石,万物有灵,不是人选择了材料,而是材料选择了人。钱亮爱玉、惜玉,注重对传统玉文化与当代艺术转化的思考,作品展现了对文化传承的深入探索,以及在现当代视域下多样的可能性。“玉·见广角”展览引领观众在俯仰之间感悟生命和艺术的深层联系,感受精神的净化与共鸣。▍赵覃(巴基斯坦拉合尔教育大学在读博士)赵覃主要从两个方面来谈,第一是“功夫在诗外”。他觉得钱亮作品背后的知识结构是非常丰富和立体的,从作品的多样性和不同的切入角度能感觉到钱亮有一种思维跳跃性。第二是“陌生化”的问题,可从钱亮近期的作品里体会到这种趋势。钱亮能够从线条、肌理、俏色这些点上跳出来,从其它的角度去处理玉石材料。有时候想从自己固有的一套思维模式和工作流程当中跳出来,是非常困难和痛苦的,但钱亮可以做的很轻松。同时这种陌生化让人产生了一种期待,很想知道他下一件作品是什么样。▍张巧伶(清华大学美术学博士)钱亮的展览包含着多重维度的“关联”。其一,凭借一种具有引导性的观看逻辑,将作品与作品、作品与场域、作品与人相互联结。其二,作品材质与物象之间存在基于日常经验的串联,具备形式的合理性。其三,在观念层面,如“物非物”系列,从竹子到筷子,再回归竹子,其中蕴含着东方哲思式的内在联系。其四,通过这种东方哲思,搭建起传统文化与当代艺术的关联。正是这四重关联,使他的作品与人紧密相连,构成了一个有机的整体。▍张哲铭(北京农学院研究生)张哲铭从艺术疗愈的视角出发,提出“玉与愈”的关联,认为钱亮的作品回归了玉文化的本质。玉者,中华民族所钟爱之物,根植于自然,归属于文化。“和合之道”强调人与物、人与自然之间的和谐关系,此乃平衡之道,钱亮于“时与物”两个层面进行“合”的创作,彰显个体与社会、自然之间的和谐之道,体现一种平衡与宁静的艺术生活状态。※  第四场 玉与遇  ※▍潘曦(清华大学美术学在读博士)潘曦从玉质媒材与陶瓷材料类比以及展场角度,提出“玉的无感”概念。首先钱亮作品对良渚、红山、宫廷、文人等传统玉仿物、抽象构造的玉质造物方式有传承。其次谈到玉与陶瓷都是传统中的有“包袱”的“强材料”,因其巨大的内容创造,需进行大量的学习去“知道”,比较难进行当代转化创作。钱亮的“玉展场”与其人一致都带给人轻松无距离感,如《心灵皂》《玉时·遇时》皆是生活中常用之物,“大香皂”立于地下,让人不自觉地想去触碰,这些都带来去文人性、阶级感的“无感”。再次是“空缺”的构成方式,如作品《叠翠系列》,“大缺”是取玉镯之后的余料位,“小缺”是作品边缘的粗糙和锯齿感,在构造具有明确指向性的文人山石过程中带来了弹性和节奏。这些点启发重新思考“好”的问题,神性、精致性、文人性是一种好,弱秩序、弹性、坍塌或许也可显现“好“的部分,这是艺术带来的解放与自由。▍赵毅伟(清华大学美术学在读博士)赵毅伟很赞同钱亮在传承与创新中国材料艺术、物质文化方面所做的贡献,特别是其在玉器领域的尝试,不仅推动了文化符号的建设,还促进了文化产业的升级。钱亮通过引入现代审美与工艺创新,使传统玉器更贴近大众,展现了深厚的文化底蕴与地域特色。同时,钱亮的实践为文化产业从业者提供了新思路,强调在保留传统精髓的基础上,结合现代设计理念,拓展应用场景,以满足当代审美需求,为文化产业转型升级树立了典范。▍薛仲泽(德国科布伦茨大学硕士)薛仲泽根据自己在德国十年间接触西方当代艺术的经验,结合本次展览,从玉与人、时间、空间的关系以及场域方面进行了交流。钱亮巧妙的场域排布将空间中人与作品的关系环环相扣、步步融合,让情感再一次升华。墙壁、灯光、作品……每件事物的“Aura(物体自身发散的灵魂)”都是“合”为场域、气氛的关键,将玉的品德与温度借助情感、观念在空间中放大,用属于今天的语言将玉的灵魂重新描述。因“和”而“合”便是此次观展最大的收获。▍李彦炅(北京林业大学研究生)李彦炅从玉的文化属性和人的美德精神出发将玉与钱亮的品格相联系,“玉”自古就引于词句当中来形容人的品质。借此次展览中的部分作品,如《心灵皂》衍生了“香培玉琢”一词,香料造就,美玉雕琢。借此阐述人与作品的关联,用贴合自我、贴近生活的材料和理念赋予作品以恰切的语言,并对展品中玉材料多维度的表达方式进行评论,认为雕塑不仅塑造物,更塑造人,人与物统一铸就契合的艺术。▍付廷栋(展览策展助理)付廷栋首先对艺术家和策展人给予的这份策展助理和视觉设计工作的信任表示感谢!他目睹了“玉·见”系列从2017年以来,在发展中进行的整体性与有序性的渐变和迭变。该展览以广角为视角,不仅呈现出艺术家钱亮在中国传统玉文化的基础上,融合现代设计思维和当代艺术语言所进行的创造性转化与创新性发展的成果。更是对时代精神和艺术家主体精神的展现与彰显,也让我们遇见并预见了“玉·见”的无限可能性。最后,学术主持宋伟光教授就“玉·见广角——钱亮玉质媒材艺术研究展”学术研讨会作出总结。他指出以玉雕的方式在中央美院美术馆举办艺术家个展,这是“一个破天荒的事情”。钱亮虽然很年轻,却是身经百战,应当讲是新玉雕的“老人”,在当代玉雕学术前沿具有引导作用。在宋伟光教授看来:第一,这是一场带有观念性的玉质媒材艺术研究展,在中央美术学院应是一个文化事件,体现出中央美院学术的导向作用和学术胸怀。第二,钱亮的玉雕是雕塑的玉雕,而不是玉雕的玉雕,他把玉这个材料用雕塑的视角进行解读和重构。第三,钱亮的玉雕作品不仅具有所谓玉雕美学、雕塑艺术等价值,还应考量其图像学的意义。透过钱亮的作品,我们不仅感受到的是作品本身,更重要的是由玉雕艺术折射出来的关于文化传承和转型、社会心理以及情感思想等方面的内涵,因而具备图像学的意义。第四,钱亮试图建构新玉雕的新逻辑,通过玉质媒材来解决和建构一个新的文化符号。玉·见广角——钱亮玉质媒材艺术研究展主办:中央美术学院美术馆展览时间:2024年9月10日—2024年10月7日展览地点:中央美术学院美术馆2层C展厅主编 / 何一沙 责编 / 杜隐珠
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锐角——策展培育计划 | 第七回方案联展 x “美术馆语境下的策展实务”课程

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“锐角——策展培育计划”第七回方案联展与“美术馆语境下的策展实务”课程合作,邀请该课程学生完成的八个优秀策展方案,自10月15日在中央美术学院美术馆一层公共空间展出。美术馆语境下的策展实务                                              -所属院系:中央美术学院设计学院授课教师:纪玉洁、薛天宠授课对象:本科二、三年级,研究生一、二年级策展实务是一项基于“实用智能(practical intelligence)”的行为,也是构成策展语法体系的重要元素。从最初的想法与灵感到最后在空间中落实,这其中囊括了多个领域、多种关系以及整个系统的具身考验与流程把控。“美术馆语境下的策展实务”以中央美术学院美术馆为课程考察和实践机构,围绕美术馆运营机制、职能架构、馆藏策略、策展机制、展览管理、美术馆建筑与空间、展览设计、公共教育、媒体宣传、展览出版、智识推广、资源拓展等职能,深入学习并理解美术馆情境中的策展实践,建构系统的策展实践认知与实施能力。期望通过考察、实践结合讨论、思考的方式,建构更为系统的策展实务认知和多维的策展思考模式,拓宽策展实践能力。2020-2021学年作业 作品名称:发电站-极速隧道 作者姓名:刘起 阎映西 李鑫儿 郑璐瑶 作者年级:19级设计学院2020-2021学年作业 作品名称:写设计 作者姓名:曹雨晴 齐元元 作者年级:19级设计学院课程中带领学生围绕四个层面进行展开:通过深入学习美术馆语境下策展实务的基本内容与功能、流程以及成果预设,推进专业性提升;将主题讨论和模拟策展实践进行融合,为拓宽策展实操经验打下基础;逐步构建起策展实践模式的系统、辩证认知,强化理论与实践的有机结合与共融;通过策展实践强化学术性思考,保有面对各种新事物、新思想的开放、思辨与研究的态度。2021-2022学年作业 作品名称 算法经纬 作者姓名:牛晨月、盖予熙 郝梓男2021-2022学年作业 作品名称 虚实相争—当代数字艺术展 作者姓名:任宇晴 罗文轩 赵翊辰2021-2022学年作业 作品名称:无远弗届:感知的重构 作者姓名:刘瑾怡 肖雅娴 叶佳璇 作者年级学院:20级设计学院2021-2022学年作业 作品名称:心像雕塑 作者姓名:陈志颖、张竞文、吴景茜 作者年级学院:20级设计学院   课程内容为学生提供有效的技能与实践渠道。以“理论赋能实践、实践回应理论”的教学模式扩展策展的应用场景与学科边界,形成以问题为导向的跨文化、跨学科的策展方法,并不断拓展其自身的边界,在智能时代来临的背景下力求促进展览产业升级。培养学生能够面向智能化、信息化的多元未来提出具有针对性的议题,传播具有社会价值的思想,成为以“策展思维”作为解决方案的实践者。2022-2023学年作业 作品名称:工作室仍在 学生姓名:曲美霖 王孜玉 赵鑫鑫 作者年级学院:20级设计学院  2022-2023学年作业 作品名称:设计的再考古 学生姓名:陈艺丹 杨雯卿 尤金珠 李品翰 刘浩名  作者年级学院:20级设计学院  展 览 现 场锐角——策展培育计划ACUTE+CURATE=ACURATE主办:中央美术学院美术馆地点:中央美术学院美术馆 一层公共空间总策划:靳军  韩文超统  筹:王春辰  高高工作组:易玥  刘希言  纪玉洁  刘宇晗  吴鹏  荆鹏“锐角”是呈现中央美术学院策展教学与策展实验的自留地,意在汇集中央美术学院青年学人们具有探索性的展览方案,促成交流、互动与共进。策展已成为一项重要且有机的艺术活动,策展人不仅是艺术现象的观察者和研究者,更是艺术实践的参与者和建设者。与此同时,策展专业教育也正处在欣欣发展之中。中央美术学院的策展专业教学经多年的开拓与积累,多个院系逐步从自身学科出发,以多视角的思考与跨学科的方法展开教学和实践,回应多元且联结的当代社会。“锐角”计划与各院系策展相关的方向与课程联动,并邀请课程中的优秀策展方案,分期展示这些的策展教学成果。什么是策展?年轻人们以所立之地为端点,以敏锐之志为态度,以方案实践与理论思辨为射线,无限地指向策展的未来。在此角隅,空间得以延伸、时间实现跳跃、形式走向复合、理念达成对话……这是点簇星星之火,亦是蕴含无限可能的有生力量!主编 / 何一沙 责编 / 杜隐珠
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CAFAM工作坊招募 | 雅俗共赏:清曲袅袅画中来

2024-10-21

文化和旅游部“2024年全国美术馆馆藏精品展出季”入选项目从来风俗亦有诗——馆藏作品中的古今人物风貌“从来风俗亦有诗——馆藏作品中的古今人物风貌”展览已于10月11日圆满落幕,本次展览研究工作坊的旅程尚未停下脚步,我们诚邀您来到美术馆,与中央美术学院滋兰昆曲社共赴一场婉转悠扬的“诗意之旅”。活动将通过品读画作和清唱昆曲的形式,与您共同探索传统艺术的深邃魅力,品味古画和昆曲中的诗意与情趣。滋兰昆曲社资深成员,中央美术学院人文学院副研究员王瑀,与中央美术学院人文学院、非物质文化遗产研究中心讲师董永俊将主持此次工作坊活动。在这场别开生面的文化体验中,您将感受到昆曲艺术与古代风俗画相互辉映的独特韵味,共同追溯传统文化的精髓。清唱曲目(以实况为准)1、《长生殿·弹词》【一枝花】2、《渭城曲》“渭城朝雨浥轻尘”3、《牡丹亭·游园》【步步娇】【醉扶归】4、《黄山好》5、《望乡》【画眉序】【神杖儿】【回回曲】【鲍老催】【尾声】作为文化和旅游部“2024年全国美术馆馆藏精品展出季”的入选项目,秉承中央美术学院美术馆的教育职能,本次展览开展研究工作坊旨在以新颖的模式鼓励年轻学子参与到与展览主题相关的科研项目中,尝试以浸入式教学让学员从展览前到展览中深入接触作品和展览,从多角度调动和激发青年学人对馆藏古代书画作品的深入研究以及探索艺术史研究新视角。“从来风俗亦有诗”展览工作坊合影活动时间:2024年10月22日(周二)12:30-13:30约持续60分钟活动地点:中央美术学院美术馆会议室报名方式:发送报名短信至13910187193(姚老师),标注“工作坊+真实姓名+电话+职业”发送申请,名额有限,报满为止。报名成功者会收到短信回复,请勿重复提交报名。注:1.本次体验请自行购买美术馆门票。2.工作坊全程免费参与。3.活动最终解释权归中央美术学院美术馆所有。活动灵感何来?古代风俗画作为一种独特的艺术形式,不仅具有“风化幽微”的教化功能,还通过生动的视觉图景展现了各时代的社会风貌和文化特征。展览中有一卷仇英款的《渔庄图》,与一人一舟、独自垂钓的渔隐图像所寄托的士人高洁情怀不同,明清时期表现渔夫打鱼和与渔民生活场景的作品逐渐增多。仇英(款)《渔庄图》(卷)/局部 绢本设色 清 中央美术学院美术馆藏仇英(款)《渔庄图》(卷)/局部 绢本设色 清 中央美术学院美术馆藏画面一隅几个赤膊男子围坐在一起吹拉弹唱,热闹欢乐的氛围仿佛已经穿透画卷与千年时光呈现在我们眼前。从宫廷贵族,文人墨客,音乐逐渐出现在风俗画中寻常百姓的生活中。华喦 《度曲小桃园》 纸本设色 清李育 《春光日日好,度曲小桃园》 纸本设色 民国虽然受限于当时的生产生活条件,古人的“音乐会”没有如今科技化的舞台设备,但丝毫不影响志同道合的好友聚集在一起“嗨皮”。美妙的音乐、韵味十足的戏曲等作为古人精神文化生活的重要组成部分,通过画作被巧妙地记录下来,源远流长。因此,工作坊特意向滋兰昆曲社发出邀请,组织了这场穿越古今的“音乐鉴赏会”。朱肇裔 《群盲行乐图册之八》 纸本设色 清中央美术学院滋兰昆曲社滋兰昆曲社于2008年10月在中央美术学院成立,社名取自《离骚》:“滋兰九畹,树蕙百亩”之语。曲社蒙著名曲家张充和先生亲笔题写社名,是一个由学生管理维持、师生共同研习昆曲艺术的业余社团组织。曲社的成立,既是为了丰富校园文化,又是为了接续学校自原国立北京美术学校时期即已形成的昆曲活动传统,进而为传承昆曲这项人类非物质文化遗产尽己所能。今年4月,滋兰昆曲社在中央美术学院美术馆举办“曼声徐度——昆曲在美院”主题展览,回顾央美百年的昆曲活动传统,重温曲社十六年发展历程,产生了较为广泛的影响。滋兰昆曲社活动现场活动主持王瑀:2008年加入滋兰昆曲社,中央美术学院艺术学博士。现为中央美术学院人文学院副研究员,从事中国古代美术史、中国古代美术典籍的教学与研究。董永俊:2008年加入滋兰昆曲社。中央美术学院艺术学博士。现为中央美术学院人文学院、非物质文化遗产研究中心讲师。中国民间文艺家协会会员,中国文艺评论家协会会员,《中国民间剪纸集成》外聘编辑。文化和旅游部“2024年全国美术馆馆藏精品展出季”入选项目从来风俗亦有诗——馆藏作品中的古今人物风貌展览研究工作坊内容一、公开讲座1、黄小峰:从来风俗亦有诗——中国古代“风俗画”的成立2、施含牧:中国古代风俗画漫谈3、王璜生:美术馆与摄影及收藏二、内部授课1、王若冰、陈冠石:展览策划思路2、窦天炜:传统与当代国画修复3、王子锟:风俗画的绘制角度4、谭坦:表达当代人民生活的版画书籍创作5、蔡萌:有诗无酒易多愁6、董梅:《诗经》文本与图像7、杨迪:明清风俗画受众与艺术传播8、王瑀、董永俊、滋兰昆曲社:雅俗共赏——清曲袅袅画中来主编 / 何一沙 责编 / 杜隐珠
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“集成” 10位知名艺术家、50件作品 | 共同探讨版画基因与当代艺术的契合

2024-10-20

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CAFAM直播预告 | 跟随艺术名家,体验当代意识与传统版画基因的奇妙结合

2024-10-18

CAFAM10月18日(周五)15:00在抖音、微信视频号、小红书、哔哩哔哩关注@中央美术学院美术馆 官方账号跟随多位艺术名家体验一场当代意识与传统版画基因的奇妙结合CAFAM直播介绍| 导览嘉宾 |吴洪亮、隋建国、苏新平、王华祥孟禄丁、陈琦、洪浩、冯梦波| 导览主持 |王若冰CAFA Art Museum直播通道
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Child Public Education Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
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Adult Public Education Event Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
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Group Public Education Event Reservation Form

I agree to the Group Visit Agreement and Statement Please agree to the Group Visit Agreement.
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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.

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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