《天堂》 年度汇报 THE HEAVENS ANNUAL REPORT

An employ of ‘Jetpack Cayman’ demonstrates the watersport now available on the island. A 2000cc motor pumps up water trough the Jetpack propelling the client out of the water (359US$ for a 30 minutes secession). Mike Thalasinos, the owner of the company quips, ‘the Jetpack is zero gravity, the Cayman are zero taxes, we are in the right place!’ Grand Cayman. Courtesy of the artist.

THE HEAVENS ANNUAL REPORT

《天堂》 年度汇报

PAOLO WOODS AND GABRIELE GALIMBERTI 

保罗·伍兹与加布里埃尔·加林贝蒂

 –

 

Tax havens have quietly taken the world by storm. More than half of world trade now passes through these places. They are in the news every day, and are fast becoming a constant fixture of political debate. The growing flow of articles and reports on this poorly understood subject are usually illustrated with images of palm-fringed tropical beaches. Is that what tax havens really look like? From Delaware to Jersey; from Singapore to Panama; from the British Virgin Islands to the City of London, Paolo Woods and Gabriele Galimberti take us on a tour into a rarely seen, secretive world that is quite different from what we imagine.

避税区以暴风之速而又不动声色地占领了全世界。目前过半数的世界贸易都流经这些地区。关于避税区的新闻每天都在上演,并迅速成为政治争论中持续、固定的话题。关于这个鲜为大众所熟知的话题的文章与报导不断增加,而且通常配以被棕榈树所点缀的热带海滩图像。但避税区真的就长这样吗?从特拉华到泽西,从新加坡到巴拿马,再从不列颠维尔金群岛到伦敦城,保罗·伍兹与加布里埃尔·加林贝蒂带领我们深入那与我们所想象大相径庭的罕见、秘密之境。

For over two years they have travelled to the offshore centres that embody tax avoidance, secrecy, offshore banking, and extreme wealth, driven by a constant obsession with translating this rather immaterial subject into images. They have produced a body of work that shows what these places look like, but, even more importantly, what they mean.

It has been estimated that as much as $32 trillion are sheltered in tax havens worldwide, largely out of sight. This money is stashed offshore by very wealthy individuals and by companies that use tax havens, often legally, to escape financial regulations or reduce their taxes, draining the resources countries can spend on education, healthcare, and security.

Tax havens are not an exotic tropical eccentricity, but have become a structural instrument of the globalised economy.

艺术家一直痴迷于将这个相当无形的议题转化成图像,并在这种痴迷的驱使下,他们在两年多的时间里前往了那些拥有避税、保密、境外金融服务和数不清财富的海岸中心。他们创造出一件作品来展示这些地方的面貌,以及更为重要的——这些地方的意义。

据估算,全球范围内约三十二万亿美元在避税区得以规避,而其中相当大一部分并不为人所知。这些钱在境外由富人以及一些公司所堆存,这些公司利用避税区——通常以合法的方式——来规避财政制度或减少赋税,使这些原本可被国家用于教育、医疗和保卫的资源流失。

避税区并不是一个热带异域怪象,而是成为了全球化经济的一件结构性工具。

They confront us with fundamental moral issues, involving the relationships between public and private; between companies and states; and between the haves and the have-nots. Woods and Galimberti have borrowed the photographic tropes and language of the world they have investigated.

They have actually created a company, aptly named ‘The Heavens’, incorporated in Delaware, where for a small fee— with no documents required or questions asked—an LLC can be formed in less than 20 minutes. ‘The Heavens’ is now based in the same nondescript Delaware office as Apple, Bank of America, Coca-Cola, General Electric, Google, Walmart, and 285,000 other businesses.

艺术家将最基本的道德议题摆在了我们面前,这关乎公共与私人的关系,公司与国家的关系,有和没有的关系。艺术家借用了他们调查得来的世界上的摄影借喻手法和语言。

事实上艺术家在特拉华创立了一家公司,恰巧地命名为“天堂”。在特拉华,只需一点点钱,不需任何文件,也不用回答任何问题,一家有限责任公司就能在20分钟建立起来。“天堂”的总部就设在特拉华,设在那个与苹果公司、美洲银行、可口可乐、通用电气、谷歌、沃尔玛以及其他28万5千家公司在同一个办公室注册的特拉华。

 

With support from Olympus and the participation of illy

The exhibition furniture is created by Cathedrae.

Publications: Les Paradis, Delpire, 2015; The Heavens, Dewi Lewis, 2015.

Design by Ramon Pez.

Prints and framing by Center Chrome.

 

感谢奥林巴斯(Olympus)的支持与(艾利咖啡)illy的参与。

展览家具由Cathedrae制作。

出版:《天堂》(Les Paradis), 戴尔波尔出版社(Delpire),2015

《天堂》(The Heavens),戴维·路易出版社(Dewi Lewis), 2015.

设计:雷蒙·派司(Ramon Pez)

印刷与装裱:Center Chrome

费里尼:8 1/2的色彩 FELLINI, 8 1/2 COLOUR

Marcello Mastroianni. Courtesy of  Paul Ronald, Archivio Storico del Cinema, AFE

FELLINI, 8 1/2 COLOUR

Photographs by Paul Ronald

费里尼:8 1/2的色彩

摄影:保罗·罗纳德

As if by magic, Federico Fellini’s legendary black and white film 8 1/2 makes an appearance in colour, immortalised by Paul Ronald. The producers asked him to photograph scenes in black and white. But Ronald had two Hasselblad cameras, and he loaded the second one with a roll of colour film, not knowing what he would do with it.

就像魔术一样,费德里科•费里尼的传奇黑白电影《8 1/2》“彩装”登场,在保罗·罗纳德的镜头下变得不朽。制作人原本请他拍摄黑白场景。但罗纳德有两台哈苏摄像机,而且他在第二台相机上装上了彩色胶卷,但他并不知道将怎么如理这卷交卷。

Colour reveals all. It underscores the aesthetic choices’ resolute modernity, from the sets to Piero Gherardi’s costumes, the eminently contemporary figures of Anouk Aimée and Claudia Cardinale, and Marcello Mastroianni’s lecherous poses. It takes us out of the film’s rigorous structure, brings us behind the scenes and shows us the festive mood that prevailed on Fellini’s set.

色彩揭示所有东西。色彩突出了审美选择的果断坚决的现代性,从布景到皮耶罗·盖拉尔迪(Piero Gherardi)的服装,阿努克·艾美(Anouk Aimée)与克劳蒂雅·卡汀娜(Claudia Cardinale)的显著当代形象,再到马赛罗·马斯楚安尼(Marcello Mastroianni)的情色姿势。色彩将我们抽离出电影的严密结构,领到场景背后,给我们展示了费里尼的布景中盛行的喜庆气氛。

81/2 was the last black and white film in a long series that the master began making in the early 1950s. It was never intended to be seen in colour, but Piero Servo recently found Ronald’s long-forgotten box of negatives. That rediscovery, accompanied by Anouk Aimée’s recollections, is the focus of this show.

《8 1/2》是这位艺术大师在20世纪50年代早期开始制作的长系列中都最后一部黑白电影。这部电影从未被设想过以彩色的形式呈现,但皮耶罗·塞尔沃(Piero Servo)最近发现了罗纳德的一盒被遗忘已久的底片。这一发现,加之阿努克·艾美的回忆,是此次展览的焦点。

Curator: Sam Stourdzé.

策展:萨姆•斯道兹(Sam Stourdzé)

With support from the Centre des Monuments Nationaux and the Fondation Fellini pour le Cinéma, Sion.

This exhibition is based on a project presented in 2011 at the Maison du Diable in Sion, coproduced by the Fondation Fellini pour le Cinéma and the Musée de l’Elysée, whom we thank for it.

We warmly thank Anouk Aimée, Piero Servo, and Antonio Moraldi.

支持:国家纪念中心(Centre des Monuments Nationaux),费里尼电影基金会(Fondation Fellini pour le Cinéma)(法国锡永).

本次展览基于2011年在法国锡永“魔鬼大厦”Maison du Diable呈现的一个项目,由费里尼电影基金会以及爱丽舍宫博物馆(Musée de l’Elysée)联合呈现,我们向其表达谢意。

我们由衷感谢阿努克·艾梅,皮耶罗·塞尔沃以及安东尼奥·莫拉尔地(Antonio Moraldi)。

 

Excerpt from Sam Stourdzé’s interview with Anouk Aimée

 

萨姆•斯道兹阿努克·艾梅访谈摘要

 

Sam Stourdzé: In 8 1/2, you play Luisa, the wife of the uninspired director. Today, the biographical elements are troubling when we watch the film again. Was it known at the time that it was Fellini’s life that was being performed?

萨姆•斯道兹: 在《8 1/2》中,你扮演的是路易莎(Luisa),一个平庸导演的妻子。如今,当我们再看这部电影,里面的传记性元素则令人困扰。拍摄的时候大家知道呈现的是费里尼的生平吗?

 

阿努克·艾梅: One day, Giulietta [Massina] came on the set. I was finished shooting by then, and they called me: ‘The Maestro wants to see you!’ ‘But it’s over!’ ‘No, no, he wants you on the set!’ The assistants were all running left and right because Giulietta was there. She did not know the script. It was the first time she was coming. The scene in shooting was the one where Luisa discovers the tests, and all the women are there! It is the only time I saw Federico nervous. He told me: ‘But Giulietta is here, go say hello to her!’ So I went and sat next to her… I used to get along very well with Giulietta: maybe it was because I never tried to charm Federico. I was not part of all these women who were running after him… As a matter of fact, Federico always used to say to Marcello [Mastroianni], speaking of me: ’She’s our little sister from the country…’ In that scene, we understand quite quickly that the character of Luisa is in fact her. So I am sitting next to Giulietta, and she’s asking me questions: ‘But what’s this, and what about her, who is she, a mistress?’ So I explain to her: ‘She’s gone, she’s S icilian, with the feathers.’ And then she asks me: ‘And what about you?’ ‘I am not there, but I play the director’s wife…’ And one of Federico’s assistants would come to me every ten minutes, and discreetly ask me: ‘The Maestro is asking what Giulietta is saying?’ [Laughs]. ‘It was amazing because she was discovering the movie at the same moment when, in the film, Luisa discovers everything!’

 

阿努克·艾梅: 有一天,茱丽叶塔[马西纳](Giulietta [Massina])来到布景前。那时我已经拍完了,然后他们把我叫住:“大师要见你!”“但我已经拍完了啊!”“不,不,他想要你加入到布景中!”由于茱丽叶塔在场,助理们都在四处忙碌。她不知道台本。那是她第一次来。当时正在拍摄的场景是路易莎进行屏幕测试的场景,而所有的女士都在现场!那我我唯一一次看到费德里科紧张起来。他跟我说:“但茱丽叶塔在这儿呢,去跟她打声招呼!”于是我过去在她边上坐下了…我以前和茱丽叶塔相处得很好:也许是因为我从来没有试图去迷住费德里科。我并不是这些追随他的女人中的一员…事实上,费德里科过去常跟马赛罗[马斯楚安尼](Marcello [Mastroianni])提起我:“她是来自农村的咱们的小妹妹…”在那个场景下,我们很快就发现路易莎的角色原来由她扮演。于是我坐在茱丽叶塔边上,而她正问我:“但这是什么,她呢,她是谁,一个小姐?”于是我向她解释:“她走了,她是西西里人,身上带羽毛。”然后她问我:“那你呢?”“我不在那儿,但我扮演导演的妻子…”然后费德里科的其中一位助理每十分钟就来到我跟前,小心地问我:“大师问茱丽叶塔在说什么?”[大笑]。“实在太棒了!正当电影中的路易莎在厘清所有事情的时候,她也在参悟着这部电影!”

萌系大叔 kawaii uncle

萌叔logo

www.17art.com

萌系大叔,自媒体人

“萌系大叔”是由艺术家宗剑领导的自媒体小组创造的虚拟形象。宗剑1976年出生于江苏,先后就读于无锡轻工大学设计系、南京艺术学院油画专业,获学士学位。2014年创办公众微信“Atrspace-艺术汇”,并开始用“萌系大叔”的网名撰写《萌叔教你搞艺术》系列、《萌叔教你看懂当代艺术》系列,立志把当代艺术推荐给更广泛的受众。

项目:
2015年 《日常快拍》\公众微信平台

撰写:
2014年:《萌叔教你搞艺术》系列
2015年:《萌叔教你看懂当代艺术》系列

Katya García-Antón

photo: OCA/ Herman Dreyer

http://oca.no/contributors/katya-garc-a-ant-n

Katya García-Antón is the Director of the Office for Contemporary Art Norway since February 2014. Having trained in Art History at the Courtauld Institute of Art, London, she has been affiliated with several major international art institutions, including the Centre d’Art Contemporain, Geneva, Switzerland; the Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; the Museu d’Arte Moderno de São Paulo, Brazil; the Institute of Contemporary Art, London, UK and IKON, Birmingham, UK. She curated the Spanish contribution to the São Paulo Biennial in 2004, and was responsible for a section of the Prague Biennial in 2005. García-Antón has organised and curated over fifty exhibitions of art, design and architecture, featuring both well-established and young, emerging artists. She has served on the editorial board of Third Text and has been an art critic for the BBC World Service and for various international art magazines, as well as contributing to numerous catalogues and monographs. Among other curatorial activities, she was a curator to the Spanish Pavilion at the Venice Biennale in 2011 (Dora Garcia’s ‘The Inadequate’), and ‘Gestures in Time’ (co-curated with Lara Khaldi), the flagship exhibition of the very first edition of the Qalandiya International Biennial in Palestine in 2012.