▲ 开幕现场

　　陌上实验联合小启组最新推出新加坡艺术家陈志伟个展《西太平洋》已于2016年11月12日成功开幕，本次展览是陌上实验独立艺术矩阵的项目之一，由青年策展人王将策划，展览将持续至11月25日。

▲ 左一 陈凌杰（小启组）

▲ 艺术家 陈志伟

▲ 策展人 王将

　　太平洋之名起源自拉丁文“Mare Pacificum”，原意为“平静的海洋”。而在这平静的波面之上却是岛国林立，独特的地缘性使岛国间的关系牵扯进诸多复杂的因数。新加坡正是西太平洋上重要的岛国之一，近年来它在东南亚当代艺术世界的异军突起，涌现出不少极具实验意识的前卫艺术，而陈志伟正是在这股升腾气旋之上的艺术家之一。

　　虽然我们的世界已经高度全球化，但新的墙界却因为仇外思想和民族保护主义的滋生而正在形成。新家坡艺术家陈志伟将此次在陌上实验的艺术项目作为礼物呈现给中国观众，以此翻越那些在我们身边伫立的高墙。然而，这些作品/礼物是源于在他的国家所稀缺的两种珍贵的资源。新加坡是一个小岛国，由于资源匮乏一直在苦苦挣扎。该国为了生存和发展需要进口非常基础性的资源。水和土壤这两种资源已经被政治化，而该国与邻国以及周边地区都面临着紧张的双边关系。难以保障的基础性资源的持续供给威胁着这个国家的生计和生存，由此而生的脆弱感是艺术家陈志伟本次艺术项目的灵感来源。

▲ 作品”商人”一部份（展厅入口）。

　　本次展览呈现了两件作品：

　　第一件作品关于水 ，作品被命名为《>H2O》。新加坡的水供给的来源最初只有一个，就是从马来西亚购买的。但每次双边关系有了矛盾，马来西亚的官员都会以切断水源为由公开威胁新加坡。例如，1998年，马来西亚的信息部长Mohamed Rahmat （莫哈迈德。拉赫迈特）就以切断水源威胁过新加坡。经过艰苦的技术革新，坚决的政治意愿以及民族决心，新加坡这个热带岛国现在仅有30%的水源供给来自于马来西亚。其他的70%来自于众多的雨水收集基础设施，水的循环使用以及海水淡化，造就了非凡的资源管理成就。尽管水资源供给对于马来西亚的依赖有所减少，新加坡总理最近仍警告说，给新加坡供水的马来西亚的林桂（linggiu）水库水位已降至警戒线。

▲ 作品《>H2O》

　　第二件作品是关于沙，作品被命名为《商人》。新加坡也严重依赖土地来建设基础设施和公共住房项目。新加坡是目前世界上最大的沙子进口国和人均居民消费沙最多的国家。2010年，由于其对沙子的需求而产生的非法沙子交易和走私，新加坡被指责破坏了柬埔寨的环境。全球见证组织（Global Witness），一个从事环境事业的国际非政府组织曾说，“新加坡在沙子挖掘方面并没有减少社会和生态成本的事实，反映出了其大局上的虚伪”当地渔民却抱怨他们的生计都被毁了，挖沙船一来，当地的鱼类和螃蟹收成骤减。群众表示他们并没有从挖沙活动中获利，反而，“人们都要挨饿了，最近戈公岛的群众都落泪了。”新加坡官方匆忙发布了一份回绝指控的声明，表示国家正“致力于保护全球环境”。该声明称，“国家并没有宽恕非法出口和沙子走私，或者任何违反输出国法律和环保规定的沙子运出行为。”新加坡政府坚持其立场，表示已经尽最大努力遵守国际法和惯例，并坚称输出国需承担更大的责任来确保一切活动的合法性。

▲ 作品《商人》

　　The name Pacific Ocean originates from the Latin word “Mare Pacificum”， which means the peaceful ocean。 However， beneath this calm water， due to its unique geographical structure， countries and its people in this region struggles over complex geopolitical issues。 Singapore is one of the important island state on the Western Pacific region.In recent years， the country has caught the attention of the contemporary art world with its sudden surge in number of experimental and avant-garde artists -Anthony Chin is one of them。

　　In our globalized world，new walls are forming due to xenophobic ideas & nationalistic protectionism。 In this show， the artist Anthony Chin attempts to scale over these walls erected around us by presenting the works as gifts to the friends in Beijing and the works are based on two precious resources that Singapore does not posses。 The tiny island state， struggles with a lack of natural resources and imports them for its survival and growth。 As a resource， both water and sand is politicised and has seen its fair share of straining bilateral ties between the city state and the region。 That sense of vulnerability due to the uncertainty surrounding the basic resources motivated the works。

▲　展厅现场

　　The exhibition presents two pieces of work：

　　The first work deals with the subject of water and is titled： >H20 （Greater than H20）。 Originally，  Singapore‘s sole source of water supply was purchased from Malaysia。 Malaysia’s officials’ thread of cutting water supply to Singaproe has cropped up through the years， especially when political differences and tensions surfaced。 For example， Malaysia’s Information Minister Mr Mohamed Rahmat held out the threat of turning off waters supply to Singapore in 1998。 Through technology， political will and determination， the tropical island state now relies on Malaysia for 30% of its water supply。 The other 70% comes from massive rain collection infratstructure， renewing used water and sea water desalination – making a remarkable resource management achievement。 Even with a reduction in realiance on Malaysia for water， Singapore’s Prime Minister recently warned that water levels in Malaysia’s Linggiu reservoir that supplies to the island state has depleted to an alarmingly low level。

▲ Title： >H2O

　　The second piece of work deals with the subject of sand and is titled： The merchant。 Singapore relies heavily on sand for it’s building of infrasturcture and public housing programs。 United Nation Environment Program reported that Singapore is by far the largest importer of sand worldwide。 With political tensions， legal sand import options are limited。  In 2010， Singapore was accused of hurting Cambodia’s environment with its demands for sand， through illegal trade by smugglers。 Global Withness， an international non-governmental organisation for the entironment， said Singapore’s failure  “to mitigate the social and ecological cost of sand dredging represents hypocrisy on a grand scale。”Local fishermen， meanwhile， complain that their livelihoods have been destroyed as fish stocks and crab harvests have plummeted since the dredging vessels arrived… Communities explained that they had not benefited from the sand dredging in any way。 The Singapore authorities promptly issued a statement to deny the accusations。 It said that the country is “commited to the protection of the global environment。” It claimed that “it does not condone the illegal export or smuggling of snad， or any extraction of sand that is in breach of the source country’s laws and rules on environmental protection。”Singapore government contineus to take the position that it has done what it can to adhere to interantional law and practices， and insists thtat is it’s the source countries which have the bigger responsibility that things are done legally。

▲ Title： The merchant

　　关于 艺术家  

　　陈志伟，当代艺术家与设计师，毕业于英国皇家美术学院，长期致力于观念艺术的探索，他对今天极尽庞杂交汇的全球信息有着强烈的求知欲和独特的整合能力，广泛地吸收知识并从中生产跨平台和跨媒介的作品，创作涉及装置、雕塑、绘画、公共艺术等众多领域，现工作和生活在新加坡。

　　关于 策展人  

　　王将，独立策展人&观念艺术家、陌上实验总策划、on space策划人之一。王将的艺术线索集中于：以怀疑主义作为思维工具，运用丰富的艺术媒介和形式向艺术系统发问，涉及策展批判、艺术史批判等。

　　About artist  

　　Anthony Chin， contemporary artist， graduated from United Kingdom‘s Royal College of Art and has been exploring the field of conceptual art。 He is focused on issues that pertains humanity。 He also seeks unique ways of crystalizing observations found in the highly complex flow of information around the world， learning widely from it to generate cross-platform and cross-media works。 They range from public art， installation， sculpture， drawing， paintings etc。 He works and lives in Singapore。

　　About curator  

　　Wang Jiang。 Independent curator & conceptual artist。 Chief planner of Moshang Experiment。 Planner of on space。 His own clue of art centers around skepticism as a thinking tool， posing questions to art system by a variety of art media and forms， including curation criticism and art history criticism。

　　独立艺术项目矩阵计划（IAPMS）是基于陌上实验的创立初衷所推出的核心计划，旨在无偿支持当代艺术的前卫性实践。长期面向艺术家、策展人征集独立艺术项目方案，为独立艺术小组、独立艺术空间提供合作和交流平台。

　　陌上实验将向合作的艺术项目提供以下支持：

　　专案小组筹建   展示平台提供   媒体宣传   资金补助

　　项目投递邮箱：moshangexperiment@163.com

　　项目展示地点：798 七星西街 陌上实验项目空间

　　项目总监：  王将  

　　项目出品：  高小伟

　　Independent Art Project Matrix Scheme （IAPMS） is the core scheme by MoShang Experiment since its establishment。 It aims to support voluntarily the vanguard practice of contemporary art。 The scheme is now soliciting independent art project plans from artists and curators， offering a platform of cooperation and communication for independent art groups and independent art spaces。

　　MoShang Experiment is offering supports below to ourpartner art projects：

　　Set up project team       Offer platform for exhibition

　　Media                               Fund subsidy

　　Sign-in email：moshangexperiment@163.com

　　Place of exhibition： 798 Art District， Qixingxijie， MoShang Experiment Space

　　陌上实验是陌上画廊支持的非营利性实验艺术空间，位于798艺术区，拥有独立的展示场域。其致力于维护当代艺术实践的前卫性与纯洁性，鼓励不断开拓艺术定义的新疆界。并通过与国际范围内独立艺术空间的紧密交流与合作，构建独立艺术项目矩阵。激励、扶持、推介具有独立意志和实验精神的新锐艺术家与策展人。

　　Located in 798 art district， MoShang Experiment is a non-profit experimental art space with independent exhibition area sponsored by Moshang gallery。  It isresolved to protect the vanguardism and purity of contemporary art practice andencourage to explore new horizon of art definition。 Moreover， by promoting global communication and cooperation between independent art spaces， itinitiates independent art projects matrix， encouraging， sponsoring andre commending promising artists and curators with independent and experimental spirits。