2020中央美院毕业季丨微展厅·本科生/艺术管理与教育学院

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 微丨展丨厅 

 艺术管理与教育学院 

展厅入口

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序  言

2020年是中央美术学院艺术管理与教育学院成立五周年。百年庚子,注定不凡。在全球对抗新冠病毒疫情的背景下,我们迎来了首届31位本科毕业生的学业成果展览。深刻铭记学院“践行者盛,空叙者萎”的院训,云端展览策划的过程即是另一种教学与践行,在学院统一组织协调,各工作室教师带领下,围绕工作室教学成果、学生个人毕业论文与实践项目,全体本科毕业生参与策划的云端展厅,由这里开启。

艺术管理与教育学院四年本科教学由专业基础课程与工作室学习两部分构成,本科第三、四学年,学生根据不同专业方向进入导师工作室学习,工作室采用“理论教学”+“项目教学”的方式,以专业体验与项目实践为核心安排课程。学院现设有“艺术展览策划管理”“美术博物馆管理”“艺术商业管理”和“艺术出版与传媒”四个工作室。此次展览以学生视角,讲述工作室两年来所学、所思、所得,各工作室独特气质与学院整体本科教学面貌得以充分彰显。

“伶俐的嘴,毒辣的眼”、“扎实的写作功底与专业领域实践技能”,是艺管学院贯穿本科教学始终的核心培养目标。结合第四学年毕业开题,学生同步进行毕业专业方向选报,在“艺术史论”与“艺术管理”两个专业方向中择其一进入毕业环节。“艺术史论”方向以呈现研究型论文为最终毕业成果,“艺术管理” 方向成果则围绕研究主题,以前期研究论文与实践项目两种形式共同呈现。此次展览,充分结合展厅现场视觉与超链接文图两种呈现形式,借助视觉引导、思维导图、关键词索引等方式,逐步吸引观者进入超链接版块,深入阅读,将不同专业方向毕业生的学业成果进行了全景展示。

展览策划与筹备的过程中,是多次师生视频会议、数不清的微信聊天记录,感动于身处各地教师与同学们的全情投入;策划方案与展览文字的一次次修订,字里行间充分体现着每一位对于学院工作室的热爱。请观众放漫脚步,跟随学院师生的精心策划,从展厅现场到超链接页面,看看工作室的教学成果,听听毕业生的感言。祝贺2020届艺管人毕业!祝你们在艺术世界开拓进取,精彩纷呈!

艺术管理与教育学院院长 余丁




康一诺

学号131608013


《博物馆观众信息收集的研究与设想》 

指导教师:冯雪

工作室:美术博物馆管理


【论文简介】

在博物馆发展的进程中,对于博物馆的定义一直在发生着变化,相对应的观众的博物馆中的位置也在不断地改变着,越来越重要。对于观众信息的分析已经成为了博物馆了解观众需求的重要部分,指导着博物馆进行建设。然而目前的博物馆观众反馈系统还存在着一定的缺陷,博物馆更加注重的是观众的前置性研究,而忽视了后置性的观众反馈,将反馈应用到改进中。当前国内外的一些博物馆已经在这一方面有了一些新的尝试值得借鉴。博物馆应在保留自己权威性的前提下听取一部分观众的意见反馈,形成有一个良性的交流系统。本文在探讨了以上这些问题的同时,还提出了一种博物馆观众意见反馈三方平台的设想,帮助各个博物馆更好的进行建设。



李昭莹

学号131608009



《探究艺术博物馆运用社交媒体的传播模式》 

指导教师:张瀚予

工作室:美术博物馆管理


【论文简介】

本文梳理了国内外艺术博物馆与社交媒体结合的文献资料以及传播理论中的社交媒体相关理论,总结了国.内外艺术博物馆运用社交媒体的传播现状。结合自己的了解和在校实践经历,列举了当前国内大部分艺术博物馆的社交媒体实践存在的问题与难点。

通过上海博物馆和尤伦斯当代艺术中心两个案例的数据收集以及分类整理,从品牌、学术、文化效益三方面进行分析。在线上发布大众问卷调查的同时,与案例中两馆的工作人员进行特殊时期的线上调研,收集专业及非专业人士的接受度和意见。



梅良辰

学号131608019



《博物馆夜场活动现状与现实意义》 

指导教师:冯雪

工作室:美术博物馆管理


【论文简介】

随着国内对夜间经济的重视,博物馆等文化机构开放夜场成为趋势。文章关注到了这一特别现象,通过对国内外博物馆夜场活动进行整理和分类,试图呈现这一新事物的面貌,并浅要探讨其目的与意义,为国内博物馆夜场的发展提出些建议。



潘怡菲

学号131608012



《公共教育的升级:观众需求驱动下的美术博物馆参与式体验》 

指导教师:张瀚予

工作室:美术博物馆管理


【论文简介】

本文在博物馆行业的第三次革命——“参与式博物馆”的转型以及体验经济时代的大背景下,讨论美术博物馆公共教育的新模式——参与式体验项目的构建及其意义。



张天成

学号131608025



《戴泽:20世纪中国博物馆事业个案研究》 

指导教师:张瀚予

工作室:美术博物馆管理


【论文简介】

本文通过对戴泽先生的日记、访谈、档案、信函等第一手资料以及其他材料进行梳理和分析, 以时间轴与主题线索交汇并行的模式,阐述戴泽先生所处的时代背景,归纳总结戴泽先生与“中国艺术展览会”、博物馆主题性创作、徐悲鸿纪念馆典藏修复等历史事件,进而讨论“博物馆主题性创作”、“对外展览”、“典藏修复”、“公共教育”等一系列20世纪中国博物馆事业发展历程中的重要问题,以丰富我们对20世纪中国博物馆事业的认知。



张正玉

学号131608010



《艺术介入乡村——打破美术博物馆边界的可行性》 

指导教师:冯雪

工作室:美术博物馆管理


【论文简介】

20世纪以来,博物馆进入进入一个快速发展的时期。随着社会生活加速发展,博物馆事业在实践中逐渐发现诸多问题,博物馆的性质、功能、定义在不断调整以适应时代现状,其功能出现泛化趋势,机构边界逐渐扩大。艺术介入作为一种艺术创作模式,同样对博物馆的发展产生了影响,最直接的是有-批美术博物馆在乡村建立了起来。虽然城市与乡村的美术博物馆事业、艺术活动仍差距悬殊,但已经由城市向乡村发生转移。美术博物馆在乡村的实践过程中产生了一种别开生面的类型,以石节子美术馆为例,它区别于露天博物馆与乡村美术馆,它的边界模糊不清,它因艺术介入而产生。在此背景下,艺术介入给美术博物馆边界带来了强有力的冲击,美术博物馆都产生了打破组织边界的可能性。



张芷蘅

学号131608015



《为观众而设计——艺术博物馆的展览视觉设计》 

指导教师:冯雪

工作室:美术博物馆管理


【论文简介】

本文通过从展览视觉出发,探讨其从设计上能为公共性带来的帮助和可能性。同时,围绕观众体验,观众心理分析观众对艺术博物馆展览视觉设计上的需求,并讨论艺术博物馆应当如何作为以保证观众体验和艺术博物馆的宗旨能达到和谐统一。本论文意在表明艺术博物馆展览视觉设计对于艺术博物馆和观众的重要性,并总结出今后艺术博物馆展览视觉设计实践中的方法论,更好的做到以观众为核心进行展览视觉设计。



陈星燕

学号131608023



《从凯迪克奖看中国原创绘本发展》 

指导教师:王文婷

工作室:艺术出版与传媒


【论文简介】

第一章 凯迪克奖概况

第二章 凯迪克奖获奖作品分析

第三章 简述国内原创绘本发展的现状,在第二章的对比下,通过数据说明我国原创绘本未来发展或改进的方向。



郭荣荣

学号131608006



《从〈上新了,故宫〉看时代博物馆创新公关策略》

指导教师:王文婷

工作室:艺术出版与传媒


【论文简介】

随着中国特色社会主义进入新时代,人民群众对精神文化的需求日益增长,新的时代要求博物馆化被动为主动,创新公共策略,与人民群众建立更加紧密的联系。作为故宫博物院的公关途径之一,《上新了,故宫》这一故宫首次以出品方身份打造的文化综艺,自开播以来得到了社会各界的大量关注,成为年度热点。研究《上新了,故宫》所运用的公关策略与可复制性,深入分析其带来的社会影响与启示,将对新时代下各大博物馆结合自身优势与特点,在公关策略上进行新的探索与革新,有着重大的现实意义。



李梁晨

学号131608016



《研究性展览的艺术丛书出版初探——以北京画院齐白石研究系列丛书为例》 

指导教师:王文婷

工作室:艺术出版与传媒


【论文简介】

展览和艺术出版是艺术作品、文献资料呈现的两种不同形式,某种意义上展览是研究成果的再表述,与美术馆的研究性展览相匹配的出版物是机构内图书馆的建设。北京画院立足学术研究,对齐白石及二十世纪美术展开系统化研究,并有计划的推进学术展览和学术出版。鲜有艺术机构像北京画院一以贯之地将研究性展览与出版相结合,并形成系列展览与系列研究丛书的规模。因此以北京画院“齐白石研究系列丛书”出版为例,以分析其出版的内在逻辑和研究脉络、研究方法为目的,对把握研究性展览系列丛书出版的流程及特点颇有意义。



王伏羲

学号131608001



《反叛与流行——关于abC艺术书展的运营策略思考》 

指导教师:王文婷

工作室:艺术出版与传媒


【论文简介】

本文的研究对象是Art Book in China(下文简称abC)艺术书展(2015-2019)。近十年来,随着传统纸媒的转型升级和互联网移动终端的换代,以及艺术市场繁荣后的低迷,艺术出版行业面临着寻求突破口的问题。在此背景下,艺术书展以崭新的面貌作为一种流行的文化消费形式在亚洲范围内颇为瞩目,它是为图书售卖会、展览和现场文化活动等形式的交集,它更好地迎合了新媒体冲击下读者对纸质读物的独特性与美学价值的需求,创造了一个使读者与出版人更有归属感的场域,并为整座城市带来活力。



周可心

学号131608021



《“快闪”——社交媒体对于展览的影响》 

指导教师:余丁

工作室:艺术出版与传媒


【论文简介】

1.“快闪展览”的兴起

2.社交媒体时代,观众认知的变化

3.社交媒体如何影响大众选择“快闪”展览文化内容

4.“快闪” 展览的发展——社交媒体对于展览策划的影响

5.“快闪”的火爆——社交媒体对于展览传播的影响

6.社交媒体时代展览的复制



田英凡

学号131608030



《中国视觉艺术类有声出版可行性研究——以喜马拉雅FM等平台为例》 

指导教师:余丁

工作室:艺术出版与传媒


【论文简介】

近年来,受到数字化、网络化、移动化进程影响,人们的阅读习惯发生了的改变。我国成年国民听书率正不断提升,从单纯地阅读纸质书籍,到阅读电子书籍,再到如今的“听书”,阅读方式始终跟随现代人的生活节奏不断进行变革。

传统的阅读方式需要受众手持书本,逐页翻阅,随着生活节奏的加快,人们对“解放双手”的需求越来越高,在工作、学习甚至通勤道路上,利用碎片化时间进行阅读,成为了人们的新需求。



王倩

学号131608007



《数字媒体语境下的博物馆教育研究——以故宫为例》 

指导教师:王文婷

工作室:艺术出版与传媒


【论文简介】

随着数字技术的发展和交流方式的变迁,数字媒体逐渐被广泛地应用于社会生活的各个方面。与此同时,由于社会经济文化的发展,艺术教育作为提高综合素质和审美修养的重要手段,正处于方兴未艾的状态之中。博物馆作为重要的公共文化机构,其功能和职责也在发生不断地转变。为了顺应时代发展的潮流,更好地履行自身的社会教育职责,博物馆的转型升级成为不可避免的趋势。如何在数字媒体语境中行使自己的教育功能,创新自身教育方式和手段,对于博物馆本身和社会整体艺术素养的提升来说都是一个重要课题。

数字媒体可以超越时间、空间的限制,例如虚拟展览、虚拟博物馆、线上课程等,为博物馆教育的传播提供了更为广阔的发展空间。本文从展览、课程、网络媒体、IP开发等多个角度分析故宫博物院是如何将数字媒体运用在博物馆教育中的,尝试从数字媒体与博物馆教育相结合的角度分析其策略的可行性和重要性,对于其他博物馆的美术教育发展提供借鉴的案例以及理论的依据。

从1998年起,故宫博物院就全面启动了数字化、信息化建设。通过二十多年的努力,目前已经建设起了系统的藏品系统、网站群、APP等。故宫博物院的数字化建设在全国范围处于领先地位,有着很好的示范和借鉴意义。



肖冉

学号131608024



《大众传播中的女性艺术家》

指导教师:余丁

工作室:艺术出版与传媒


【论文简介】

从大众传播的过程来看,传播过程可以剥离出三个主体:传播者-媒体、传播内容-女性艺术家、接收者-大众。本文试从这三者的立场、角色和彼此的关系出发,探讨影响女性艺术家形象的因素有哪些,女性艺术家在大众传播的作用下如何塑造自身形象、被大众怎样理解。



邢画

学号131608031



《2010-2019年ARTnews收藏家排行榜中的中国藏家变动》 

指导教师:赵力

工作室:艺术商业管理


【论文简介】

第一章 ARTnews收藏家排行榜概述

第二章 2010-2019年ARTnews排行榜中的中国收藏家

第三章 案例分析

第四章 ARTnews收藏家排行榜的评估与排行榜新标准的展望



季刘卓笛

学号131608026



《画廊的艺术家营销研究——以蜂巢当代艺术中心和高古轩画廊为例》 

指导教师:赵力

工作室:艺术商业管理


【论文简介】

随着我国艺术市场进入调整期,藏家与业界都急需发掘更多有市场潜力的中青年艺术家,因此以推广艺术家为主业的画廊对推动艺术品市场的良性发展越发重要。近年来,一批批画廊顺应市场需求成立,逐渐摸索出了一套较为成熟的艺术代理、合作机制。然而许多画廊的结局却以破产告终,能坚持运营十年的更是少之又少,很重要的一点原因在于画廊的艺术家营销理论及模式还很不成熟,难以将艺术家们推向更大的市场。在营销学发达的当下,画廊可以借鉴其模式,并根据艺术市场受众的实际情况进行调整,开辟出专属于画廊艺术家营销的道路,将中国中青年艺术家推向世界舞台。



李雅迪

学号131608029



《商业空间的艺术策略——以侨福芳草地和昊美酒店的运营模式为分析对象》 

指导教师:张正霖

工作室:艺术商业管理


【论文简介】

在消费升级和行业变迁的双重背景下,我国商业地产发展模式的改革已成为行业战略重心,而艺术的介入,是商业地产实现结构性调整、摆脱同质化竞争的一种有效策略。本文总结了艺术地产在我国的发展模式与动因,并以侨福芳草地与昊美艺术酒店两个典例为分析对象,深度剖析其运营及盈利模式。旨在通过研究,探讨利用艺文策划拉动项目盈利增长的可循路径,或可为我国商业地产未来布局发展或存量改造提供新的思路。



刘珍玲

学号131608008



《艺术品拍卖担保业务研究》 

指导教师:赵力

工作室:艺术商业管理


【论文简介】

本文以艺术品拍卖担保业务作为研究主题,试图探究其对艺术品交易的影响,通过数据、案例与交易细节加强了对担保业务的深层梳理分析,探索人们普遍认知之外的担保业务的多面性,并延伸分析了拍卖市场建设的困境并提出建议。面对充满竞争的市场未来,随着资本、业务、信息整合与科技发展,拍卖行也必定需要更广阔的经营渠道。



马雪萍

学号131608020



《体验经济背景下的美术馆消费空间研究》 

指导教师:张正霖

工作室:艺术商业管理


【论文简介】

艺术展览是一种兼具审美与经济价值的体验活动。本文将探讨美术馆如何基于艺术展览进行体验经济的开发,结合艺术衍生品、餐饮、活动等方式,充分利用其情景化的空间,使观众产生难忘的消费体验;结合不同案例,探索合理的美术馆展览与消费模式,发挥展览的经济价值。同时考虑美术馆各类产品的社会意义,使之成为艺术大众化载体,使艺术传播与消费相互促进。



张碧涵

学号131608002



《“艺术养老”:案例研究与中国模式》 

指导教师:张正霖

工作室:艺术商业管理


【论文简介】

目前,我国大多数养老模式仍停留在养老的自然属性上,未能满足养老群体在社会和精神层面的养老需求。养老行业还处于起步阶段,市场供求之间存在着巨大的缺口。由于老年人具有不同的文化背景、年龄、兴趣爱好等,现有的养老机构无法满足老年人多样化的需求。许多老年人退休后仍然很健康,但他们的精神需求得不到满足,也缺少适适合的休闲活动,这使许多老年人退休后的生活孤独和沮丧。而艺术养老将成为这一巨大社会问题的解决方法。



张懿丹

学号131608018



《深圳市艺术博览会运营模式发展研究(2012至今)》 

指导教师:张正霖

工作室:艺术商业管理


【论文简介】

随着中国经济的平稳持续增长,全球化趋势的日益发展,中国艺术市场销售额和在全球市场中比重的下降,艺术市场对艺术机构国际化、专业化水平的要求日益提高。与此同时,随着全民美育的不断发展,“网红展”的不断涌现,大众对艺术世界和艺术市场关注度不断提高,反映出新兴艺术消费人群的潜力。艺术博览会作为二级市场的重要组成部分,随着以展览形式呈现的市场形态的不断发展,专业化水平的不断提升,观展人次和销售额也逐渐提高。艺术博览会作为一种市场行为,因为其对人的精神需求的影响,还具有重要的社会价值。如何通过高水平的运营,实现其经济价值和社会价值的统一,培育良好的市场生态和市场秩序,需要艺术管理人的不断探索。



郑郁青

学号131608003



《成人艺术鉴赏课程的教学设计研究》 

指导教师:赵力

工作室:艺术商业管理


【论文简介】

成人艺术鉴赏课程是一门富有潜力的业态。本文通过文献研究(包括学习者特征、成人教育理念和鉴赏学科要求)以及对“嘉德教育”与“骨董时光微课堂”两个机构的案例研究,探讨了成人艺术鉴赏课程的有效教学设计。研究认为,艺术鉴赏课程需要权威专家授课,其组织者负责提供一系列支持性服务、营造社群氛围,并建立起不同类型的课程梯队,最终培养起学习者的文化包容心、实践精神以及终身学习能力。


李雅文

学号131608005



《特殊儿童艺术展览初探》 

指导教师:周青

工作室:艺术展览策划


【论文简介】

一. 特殊儿童及特殊儿童艺术展览概念阐述;

二.特殊儿童艺术展览的特点及类型;

三.特殊儿童艺术展览的策展理念与机制;

四.总结。



刘庆欣

学号131608017



《“带货”:权利、符号与消费》 

指导教师:王彦慧

工作室:艺术展览策划


【论文简介】

2019年,“带货”一词重新成为网络热词。网络空间里,虚拟人占有的网络权力越大,粉丝越多,“带货”的效果越好。我们不禁有所疑问,“带货”主体的权力是怎样在网络世界中建立的?在对“带货”、“网络权力”、“符号消费”等概念进行定义,并了解“网络社会与虚拟人”的大致背景后,本文将通过福柯的微观权力理论理解网络权力,分析“带货”背后的网络权力和网络符号的生成,然后借助鲍德里亚的符号消费的相关理论理解网络权力下符号消费的建构与消解。最后,简要讨论一下普通人面对“带货”的正确态度。


史雯靖

学号131608028


《试论空间语境与艺术展览的关系——以“掩体空间”为例》 

指导教师:周青

工作室:艺术展览策划


【论文简介】

一、空间与空间语境

二、展览空间与展览空间语境

三、独立性艺术空间及其空间语境 

四、替代性艺术空间及其空间语境  

五、场域定制艺术空间及其空间语境

六、“掩体空间”展览案例分析



闫妍

学号131608004


《龃形——来自牙齿的隐喻》 

指导教师:王彦慧

工作室:艺术展览策划


【论文简介】

本文是对于虚拟展览“龃形”的策展论述。“龃”字偏旁为“齿”,意思是“用力咬合牙齿”,组词“龃龉”意为“牙齿上下对不上”。“龃形”一方面和“矩形”同音,象征着展览分为四个模块,另一方面说明这是牙齿的问题,不规整的牙齿引发病变或疼痛,也带来了其他层面的问题和矛盾,带来人们对自身的观察与自我的认知。论文尝试通过寻找发散性的作品,从多个角度呈现牙齿在艺术史中的内涵和象征。



张艺璇

学号131608011


《周而复始,而不复始》 

指导教师:陈旷地

工作室:艺术展览策划


【论文简介】

2019年是阿波罗登月五十周年,全球各大美术馆、博物馆均以次契机研究了“月亮”这一意象从古至今对人类在科学与生活上对艺术创作所产生的影响,本文根据梳理、研究相关朱题展览后根据研究所得得出中国当代艺术作品与“月亮”对话的展览研究方案。



张紫瑜

学号131608022


《从“芳草长亭:李叔同油画珍品研究展”试析“研究型”展览》 

指导教师:周青

工作室:艺术展览策划


【论文简介】

第一章 “芳草长亭:李叔同油画珍品研究展”的策展理念

第二章 “芳草长亭:李叔同油画珍品研究展”的展览机制

第三章 研究型展览的概念发展及其意涵

第四章 结语



朱芮菡

学号131608014


《试论洞穴隐喻之今日变体》 

指导教师:陈旷地

工作室:艺术展览策划


【论文简介】

在这个加速发展的技术时代,无形的堡垒正将我们笼罩,长年坐卧其中远观世界持续演化,惊奇、痛苦、疲惫、快感将我们填充。对立之物渐失差别,坚硬之物空洞蓄积,崩塌随时可能不期而至。本论文系笔者毕业展览项目:“出戏——穴居者的触岸”的前期研究性文章。文章以“洞穴隐喻”这一柏拉图的经典哲学概念为引,探索以虚影作真实的穴居生活状态于今日之变体,尝试勾勒出其具体表现,并探讨原因与影响。



田钊菡

学号131608027


《野性的叙事——论“好奇柜”在当代艺术中的运用》 

指导教师:周青

工作室:艺术展览策划


【论文简介】

第一章:好奇柜的概念界定、历史及当代发展

第二章:好奇柜叙事的对象与内容

第三章:好奇柜的叙事的方式与特点

第四章:好奇柜叙事的当代的意义 

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Group Visit Agreement
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CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Event Booking Form

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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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