上海外滩美术馆 Rockbund Art Museum

“缝隙以光为形”是艺术家艾什·莫尼兹在亚洲的首场回顾性个展。莫尼兹（1992 年生于加拿大沃瓦）是一位跨学科艺术家，创作涉及影像、雕塑、装置和表演等媒介，常驻纽约和开罗，亦曾在西南亚和北非地区、中国和加拿大生活多年。十余年来，莫尼兹以研究为导向的艺术实践深入考察供应链系统内含的暴力，其核心议题是：权力系统用于控制劳动力的可视化和中断工具，如何被工人夺回，转变为抵抗、协商和团结的手段。规范及其抵制之间的张力、跟踪损失时间的系统和夺取损失时间的工人之间的周旋，恰形成了孕育更多可能性的缝隙。莫尼兹的作品提出一种关于“缺失”的政治学，展示不在场或不可言说之物如何塑造新的抵抗和联结形式。

展览横跨美术馆三层空间，追踪物流系统如何在管控货物流通的同时，更治理身体的流动、言语和时间。展览叙事从劳工开始（四楼），迈向沉默（五楼）和跨国团结（六楼），以多元而交织的线索探讨在不均等的全球贸易流中，控制怎样被实施以及人们怎样抵抗。莫尼兹让缺失变得可感的美学策略是其诸多创作的共同立足点。其作品并非直言正义，而是暴露控制及其反对之间的动态关系，以此干扰主导结构，并邀请人们想象共享能动性的新形式。

四楼展厅精选了一系列影像装置，审视权威结构如何在监控、损失预防策略和劳工管理中成型。作品均关注相关机制低效和延迟的时刻，或由抵制行动造成的崩溃，并思考工人如何通过夺回这些中断的时间构筑跨越边境的团结。结合碎片化叙事和多种纪录片手法，这些影像反思控制关系的不平等，以及从中敞开的集体行动的可能性。

五楼空间转向沉默的政治学。一场“无言者会议”在此举办，探讨以拒绝言说为形式的反抗。这些策略包括强制的沉默、回撤的话语，以及诉诸音乐的不可言说——均为在语言表述的界限之外传达意义的形式。本层核心作品是全新委任创作的影像装置《［语音不清］》（2025），通过加沙摇滚乐队 Osprey V 在极端暴力的处境中游走在言语边界的境遇，考察声音、证词与可见性的交汇地带。

六楼作品将团结呈现为一种空间与政治力量。上海外滩美术馆图书馆导言 Introduction中庭的窗户化作制图学装置，映射全球港口之间的联盟——“邻近之处”不再是一个地理概念，而由共同的劳动、攫取和流通处境决定。种种联结从全球贸易隐形的基础设施中浮现，揭示重叠的控制系统和集体抵抗如何关联由距离分隔的不同现场。莫尼兹的创作藉由共同的境况和互相扶持的抵抗重塑“邻近”的概念，想象了一种跨越边界的新联合，拒斥剥削逻辑的同时超越体制的束缚，由此追寻新的团结。

A Crack in the Shape of Light Getting In marks Ash Moniz’s first survey exhibition in Asia. Moniz (b. 1992, Wawa, Canada) is a transdisciplinary artist working across video, sculpture, performance, and installation. Currently based between New York and Cairo, they have spent most of their life in the SWANA region, as well as in China and Canada. Over the past ten years, Moniz has developed a research-based practice interrogating the violence embedded in supplychain logistics. This work has centered on how the same visualizations or disruptions used by systems of power to control labor can also be reclaimed by workers as means of resistance, leverage, and solidarity. This tension—between regulation and refusal, between the systems that track lost time and the workers who reclaim it—marks the crack where something else can begin. Engaging the politics of absence, Moniz’s work reveals how absence and the unspeakable can give shape to new forms of resistance and connection.

Presented across three floors of the museum, the exhibition traces how logistical systems govern not only the circulation of goods, but also the movement of bodies, speech, and time. It moves from labor (fourth floor) to silence (fifth floor) to transnational solidarity (sixth floor), through interconnected explorations of how control operates and how people resist within the uneven flows of global trade. A common thread throughout is Moniz’s use of aesthetic strategies that make absence felt. Instead of rendering justice directly, these works expose the relational dynamics of control and opposition, interrupting dominant structures and inviting new forms of shared agency.

The fourth floor presents a selection of video installations that examine how structures of authority take shape through surveillance, loss prevention strategies, and labor management. These works foreground moments when those mechanisms break down in the form of inefficiencies, delays, or acts of refusal and consider how such disruptions can be reclaimed by workers as tools for building solidarity across borders. Using fragmented narratives and a mix of documentary techniques, the videos reflect the unevenness of control and the openings it creates for collective action.

The fifth floor turns to the politics of silence, staging a “conference of the speechless” where the refusal to speak becomes a strategy of defiance. These tactics include enforced silence, strategic withdrawal, and musical ineffability—forms of meaning that exceed what can be fully articulated. At its center is [inaudible](2025), a newly commissioned video installation that engages the intersection of vocality, testimony, and visibility through the experiences of Osprey V, a rock band from Gaza that navigates the boundaries of speech under conditions of extreme violence.

The sixth floor turns toward solidarity as a spatial and political force. The atrium windows of RAM’s library become a cartographic installation that maps alliances between global ports, not by geographic proximity but by shared conditions of labor, extraction, and circulation. These connections emerge through the invisible infrastructures of global trade, linking distant sites through overlapping forms of control and collective struggle. By redefining proximity through shared conditions and mutual resistance, the work proposes new ways of relating across borders, grounded in the refusal of exploitative logics and the pursuit of solidarity beyond imposed systems.