International Symposium on Arthur Danto – Artwork: From Object to Theory

2015年4月22日至23日,阿瑟·丹托国际学术研讨会在北京中央美术学院召开。此次研讨会由中国中央美术学院、美国密西根州立大学布鲁德美术馆和美国明尼苏达大学艺术系联合举办。研讨会主要围绕丹托于1945年至1965年间撰写的一系列具有巨大影响的美国艺术理论专著及实践,以及丹托本人对当代中国艺术研究与批评与日俱增的影响而展开。

阿瑟·丹托,这位过去半个世纪中美国最杰出的艺术哲学家和评论家于2013年10月与世长辞。为了纪念他对艺术领域做出的突出贡献,我们特地举办了这次研讨会,深入探讨20世纪中期(即二战后)美国艺术从欧洲存在主义世界观向美国实证主义的转型。丹托先后撰写了《历史的分析哲学》(1965年)和《知识的分析哲学》(1968年)这两部哲学巨著,为哲学领域做出了巨大贡献。实际上,在他将研究目光转向当代艺术家所提出的诸多疑问之前,他已经是一位蜚声世界的大学问家。随后,丹托开始将杜尚及其他20世纪早期的艺术家们的转型之作,与当代流行文化和战后新经济背景下诞生的作品相联系——这类作品摒弃了抽象表现主义,以突出文化因素为主要特征。

1964年,在纽约斯泰布尔画廊(Stable Gallery)观看安迪·沃霍尔的名作《布里洛盒子》之后,丹托开始反思:“什么样的东西才能称为艺术品?”在那时,艺术哲学并非丹托的主要研究领域。然而,正因为沃霍尔的这部旷世名作,才促使丹托将目光转向这一领域并在之后的几十年专门研究这一领域。身为哲学家,丹托的研究兴趣并非对艺术家或艺术作品进行分类,而在于创作者从作品本身所获得的感受和其间所隐含的疑问。他认为,艺术家也是哲学家,借助视觉表现手法提出自己的疑问;他坚信,艺术家为探讨作品的意义指明了方向。

一切皆有可能,在艺术领域也不例外。以研究艺术的目的为例,人们一贯所持的观点可能在一瞬间就被推翻了。在看过《布里洛盒子》之后,丹托彻底颠覆了其对艺术的阐释和观点。这种经历让他提出“某物为何是艺术品?”这一哲学问题,并促使他深入研究艺术的本质。此次研讨会聚焦1945年至1965年美国艺术转型期,以转型期艺术家的作品为切入点,探讨丹托关于“寻常物的嬗变”的论述。丹托生前曾到访中国,他意识到1979年文化大革命以后,中国的艺术成像也开始走向转型。由此我们相信,丹托的诸多论述对推动中国当代艺术研究的发展同样具有重要意义。1949年新中国成立后,创作者摆脱了多年的压抑和限制——在此之前,任何作品在图像和表现形式上都只允许使用苏联式的手法和制式,而大踏步地走向现代。丹托对艺术的论述,也开始走入中国作家和策展人(如黄专)的学术对话之中,这主要得益于王春辰博士将丹托教授的作品译成了中文,使丹托的理论和思想能够为中国读者所知晓。

此次研讨会的主要目的有两个:首先,聚焦20世纪40年代后期至60年代丹托曾经历过的美国纽约艺术领域的大转型,并重点讨论艺术家为摆脱“英雄焦虑症”而掀起的运动。“英雄焦虑症”尤以抽象表现主义为代表。围绕转型年代中这些地动山摇似的剧变,以及丹托何以写就“艺术的终结”这篇文章,受邀批评家和艺术家将展开热烈的讨论。

其次,我们还想探讨一下丹托的理论对中国当代艺术家的创作有何影响,尤其是这些理论如何应用于起点截然不同的中国艺术体系中。目前,中国艺术家在全球重量级双年展及众多展览中均取得了不俗的表现。有趣的是,从其作品中,你能发现不少中西方相互融合和深受西方哲学及艺术理论影响的印迹,即便它们保持了基本的“中国特质”。在关于当代艺术的论述中,丹托曾表达过这样一个基本理念:艺术必须表达自身的意义,策展人和评论家将围绕这个观点展开讨论。与此同时,我们认为这种理论批评方法或许也能在中国得到延伸。

中国艺术批评家的文章中曾屡次提到丹托,由此引发了人们对《艺术的终结》和《寻常物的嬗变》这两部书的含义和阐释的激烈争论。《艺术的终结》和《寻常物的嬗变》是中国学者研究得最为广泛的丹托著作。对中国而言,以艺术“主导叙述”为原则的西方艺术理念是极为罕见的。由于丹托的整套艺术哲学迄今尚未全部译成中文并传入中国,此次研讨会将对中国艺术家、学者、学生、艺术策展人及其他参会者产生重要意义。丹托的著作构建了二战后至上世纪60年代艺术世界转型的框架。此次研讨会将以丹托的美国地域性艺术理论为基础,引发中国批评家及学者的全新认识。


研讨会详细安排:

时间:2015年4月22日至23日

地点:中央美术学院美术馆 学术报告厅

主办:中国中央美术学院
         中国中央美术学院美术馆
         美国密西根州立大学布鲁德美术馆
         美国明尼苏达大学艺术系

特别支持:泰拉美国艺术基金会



会议安排:


4月22日  09:30—12:00


论坛主持人:王春辰  美术史博士,中央美院美术馆学术部主任


09:30  主持人开场并介绍到场嘉宾


09:35  中央美术学院院长 范迪安 致辞


09:45  中央美术学院美术馆馆长 王璜生 致辞


09:55  美国密西根州立大学布鲁德美术馆馆长Michael Rush视频致辞


10:05  泰拉美国艺术基金会代表 致辞


10:15  主题发言  

       
          发言人:Alex Alberro  纽约Barnard College与哥伦比亚大学当代艺术教授


11:15  Q&A(主讲人与观众)


12:00  上午活动结束


4月22日  14:00—17:00


主题:丹托艺术哲学/如何理解“艺术的终结”


分场主持人:陈岸瑛(清华大学艺术史论系 系主任)


14:00  介绍分场主持人及发言人


14:05  分场主持人开场


14:10—15:00  主题发言 


发言人:Mary Wiseman  纽约大学研究生院 荣退教授

           
           Thomas Rose  美国明尼苏达大学艺术系 教授

                
            彭锋  北京大学艺术学院 教授


15:00—15:15  茶歇


15:15—16:15  小组讨论:陈岸瑛,Mary Wiseman,Thomas Rose,彭锋


16:15—17:00  Q&A(主讲人与观众)



4月23日  09:00—12:00


主题:丹托的艺术批评


分场主持人:李军 中央美术学院 教授


09:00  介绍分场主持人及发言人


09:05  分场主持人开场


9:10—10:00  主题发言


发言人:Ewa D. Bogusz-Boltuc 艺术批评家、哲学家,任教于波兰华沙大学和美国伊利诺伊州立大学

                    
             刘悦笛  中国社会科学院哲学所 副研究员

             
             王春辰  美术史博士,中央美院美术馆学术部 主任


10:00—10:15  茶歇


10:15—11:15  小组讨论:李军,Ewa D. Bogusz-Boltuc,刘悦笛,王春辰,Alex Alberro


11:15—12:00  Q&A(主讲人与观众)



4月23日  14:00—17:00


主题:丹托艺术哲学与批评对中国艺术的意义


分场主持人:宋晓霞  中央美术学院 教授


14:00  介绍分场主持人及发言人


14:05  分场主持人开场


14:10—15:00  主题发言 


发言人:隋建国  中央美术学院 教授


            Mary Wiseman  纽约大学研究生院 荣退教授


           David Brubaker 武汉纺织大学 教授


           Ginger Danto  丹托之女


15:00—15:15  茶歇


15:15—16:15  小组讨论:宋晓霞,隋建国,Mary Wiseman , David Brubaker , Ginger Danto


16:15—17:00  Q&A(主讲人与观众)




-----------------------------------------------------------------------------------------------------------------


展览信息:

美的效用:丹托的法国、意大利及新英格兰习作


The Use of Beauty: Studies from France, Italy and rural New England.

by Arthur C. Danto


策展人:王春辰,Ginger Danto

学术顾问:Thomas Rose

展览时间:2015年4月21日-5月20日

展览地点:中央美术学院 公共教育空间


主办:中国中央美术学院美术馆

美国密西根州立大学布鲁德美术馆

美国明尼苏达大学艺术系

支持:泰拉美国艺术基金会



总序(王春辰)


我们都知道阿瑟·丹托是哲学家、艺术理论家,但没有想到他在大学主修的是艺术创作,直到去哥伦比亚大学读研究生时才转到哲学上来。丹托一直在空暇时间里画画写生、做做版画,保持了对艺术的直接感受,所以他说自己是一手握着哲学,一手拿着画笔。正因为丹托保持了对艺术的热爱和敏锐,他才对纽约和美国发生的各种新艺术产生了巨大的兴趣和关注,虽然他不再以任何的艺术家身份出现。当我们今天惊讶于丹托提出的诸多艺术理论时,实际上又提示了我们:艺术与哲学是知行合一的,从书本到书本的理论过渡内涵着艺术的体悟,同时哲学思辨又开启了艺术存在的理由和可能。就此而言,我们可以说丹托是哲学艺术家和艺术哲学家。



前言(金杰·丹托/Ginger Danto)


我和姐姐都还小,我们坐在一辆芥末色的雪铁龙(Citroën )车破旧的后座上,没有安全带。那是1962年,地点位于法国南部。郊外的天阴冷阴冷的,村庄都很小,家家户户都关着门。唯一透着生气的,就是烟囱里缓缓升起的炊烟。祖母们在家做饭,男人们在田间劳作。


父亲在哥伦比亚大学任教后的第一个学术年假,我们在一个名叫“罗屈埃布兰卡马尔坦”(Roquebrune Cap Martin)的小村庄安了家。这个村庄虽然小,且位于一处斜坡,但我们还是选择留在了这里,或许就是因为厨房配有露台,能看到海,楼上还有一间备用的空房,父亲可以在那里写作。这里就好像第二个蓝色海岸(Côte d’Azur)。我们的生活缓慢而简单,而当时的名人仍然只热衷于摩纳哥和蒙特卡洛的快艇游乐场。


父亲那时专注于研究哲学。哲学是他在大学任教时的主攻领域,但艺术和艺术创作仍然占据了他生活的重心。年轻时,父亲在我们老家纽约曾是小有名气的艺术家。他在我们童年时期居住的公寓里做木版画时,常常把木屑撒得满地都是,把墨水溅到木板上,还有一张张白得发亮的画纸,整整齐齐卷好了备用。


但我们四处旅行的时候,这些就都没了。更别说工作室了。有的只是一台蓝黑的Olivetti打字机和一个破烂的手提箱,就是父亲在学校里一直提着的那个。手提箱里除了书和手稿,总少不了写生簿,或者一叠Sennelier水彩纸,再加上一瓶墨水、一支钢笔和一套水彩颜料。


我在读到父亲描述他早年的艺术人生,尤其是关于他著名的艺术终结论的文字时,对于他斩钉截铁地说自己从不使用色彩,或者是从不对色彩感兴趣的话,我感到十分诧异。他说自己所有的版画都是黑白的。


诚然,木版画是父亲的标志,也为他在授课之余创造了一些额外的收入。他承认,木版画对他而言“意义重大”。但在我们从前趁暑假和父亲的学术年假去法国、意大利和新英格兰的一些地方旅行时,父亲从起初仅仅用铅笔、钢笔和墨水写生,慢慢发展到将这些素色的写生填满了颜色——明亮、淡雅的水彩,让人想起以塞尚为代表的印象派。可正是因为塞尚画派的至善至美,却最终让父亲关上了自己的艺术创作之门。


我还记得,每次我们全家外出野餐,父亲的创作灵感总会突然涌现。母亲从当地杂货店买了外带沙拉,还有总也少不了的法式长棍面包和黄油。母亲刚开始撕沙拉外面的蜡纸包装,父亲就已拿出写生簿,静静地坐下来,研究周围的风景。如果觉得只画景色没意思,他会要求我们中的一位摆好姿势,给他当模特。那时我还小,总觉得跟一动不动地给父亲当模特比起来,玩毛绒玩具要有趣得多。所以,每一次,当我一动不动地坐在岩石或长椅上,父亲一边眯眼看我,一边快速写生,嘴角还挂着微笑,这对我来说简直是一种莫大的折磨。直到母亲喊我们去吃饭,我们才各自得到解脱。


姐姐伊丽莎白记得,父亲的工作效率非常高。她十岁左右的时候,曾陪同父亲用数个下午的时间环游了罗马,拜访各个建筑。父亲管这叫“分析式观光”。其成果就是一堆用钢笔写就的建筑物素描。他所做的这些研究不仅仅是为了好玩,而是试图阐释詹森和鲁道夫·维特克维尔书中的一些信息。鲁道夫是哥伦比亚大学的艺术史学家,也是父亲的一位密友。父亲在其于2013年出版的学术性自传《我的哲学人生》中曾写道:“在我读过的所有关于艺术的文字当中,鲁道夫所著的《人文主义时代的建筑原理》对我产生了最大的哲学影响。”


许多研究表明,父亲作为艺术家的造诣足以与他在哲学上的成就相媲美。然而对他本人来讲,这两方面的追求并不矛盾,反而相得益彰。在父亲创作的建筑绘画中,令伊丽莎白印象最深的是圣伊沃教堂(St. Ivo)。另外还有一幅是从台伯河(Tiber)河畔看到的圣安杰洛城堡(Castel St. Angelo),那天突然下雨了,父亲必须提早收拾东西离开,画纸上至今还残留着难看的雨水印迹。


本次展览中展出的,还有父亲关于其他建筑的画作,包括著名建筑师普罗密尼(Borromini)的四喷泉圣卡罗教堂(San Carlo alle Quatro Fontane)。这座教堂最突出的特点是它的凹凸设计。“这种以无形塑有形的理念彻底改变了我看待艺术的方式。”父亲后来写道。他说这些设计在他看来与东方哲学中的一些理念不谋而合,并且追随了巴洛克式建筑风格的脚步。


我还记得,只要父亲在家,不论是在罗屈埃布兰的别墅还是在罗马的小公寓,他总喜欢把自己在路边速写的墨迹未干或仍汪着彩色颜料的画儿摊开,晾在家里的某个地方。而过不了多久,他就把画儿重新收起来,于是这些地方便又能用作一些更家常的事儿了:女佣会在上面熨衣服,我们会在上面做作业、吃饭,或者傍晚时分,父亲和母亲一起,在那上面共饮一杯葡萄酒。


几年前,父亲的母校韦恩州立大学为其版画创作举办了一次在线展览。父亲为这次展览写了一篇文章,其中,他在谈到自己的作品时说:“我对单纯的艺术创作不感兴趣,我想要它们进入人们的生活,被人挂在墙上。我想让它们成为生活的一部分……”他的希望如今已变成了现实。几十年后的今天,承蒙中央美术学院和一些热情的同事们的大力支持,父亲的作品终于漂洋过海,来到离家一千多英里以外的地方,为来自世界各地的人们所欣赏。


——————————————————————————————————————


美的效用:丹托的法国、意大利及新英格兰习作

策展人:王春辰,Ginger Danto

学术顾问:Thomas Rose

策展助理:易玥

视觉设计:纪玉洁

展览展务:吴鹏 宿世存


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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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