《天堂》 年度汇报 THE HEAVENS ANNUAL REPORT

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

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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