雅加達事件簿
The Book of 
Events: Jarkata

《雅加達事件簿》是以太空人造衛星遙測技術的地表影像所進行的一系列創作。此計畫結合文獻檔案、遙測影像、地圖、地誌等多樣元素,構成一系列跨歷史、跨平台與跨 媒介的全球化人文地理圖誌的創作,試圖開啟人類尖端科技的各種探尋。

本創作以一位荷蘭籍葡萄牙東印度公司測繪員林斯霍登(Jan Huyghen van Linschoten,1563-1611)在1595年出版的《東印度水路誌》(Itinerario)作為基底,他在書 中記載了大量的水手見聞、地方傳說,書裡插頁地圖的海怪更是建構《雅加達事件簿》的重要元素之一。

「世界地誌的「再書寫」是《雅加達事件簿》的主要創作方法。邱杰森與莫珊園所重編的世界地理誌,更可以說是「地理再發現」的創作啟航。藝術家以荷蘭東印度公司的亞 洲總部根據地雅加達為座標,嘗試以太空遙測影像技術創建虛擬地表,成為藝術家建構世界劇場中重要的一個場景。

「邱杰森與莫珊園透過「偽歷史」的方式創造一部紀錄片,試圖在如同碎片般的歷史事件中重新搭接、串連,變成一種可能的敘事方式;他們使用第一人稱視角的虛擬空間中 漫步,藉由虛擬世界讓藝術與歷史產生對話,使原本的歷史文本轉化存儲到藝術空間中。

藝術家使用衛星遙測影像,以當前太空科技所進行的全球觀測下的世界即時地貌,結合數位3D點雲(point cloud)技術建立的複合多時間序列的地表圖層,從《東印度 | 水路誌》中的古地圖到現代科技的遙測影像,以不同時代的地圖層層堆疊結合成的新地表,意圖將時空的斷裂重新縫合起來。藝術家透過不同的地圖連結時空的斷裂所建構 的敘事性創作,都是藉由文本「再書寫」的形式反思,創造科技文本。

「由電子技術所建立的科技世界連結彼此,技術堆疊所建立的「世界村」(Global village),便是一個當前世界的終極形象,但在展場中,地球儀的「負空間」(Negative space)海洋卻反轉成為了如滿佈稻穗的金色大陸,反思人與海洋的關係,進而對應到人與真實擊虛擬空間的辯證。

Jakarta Event Book is a series of works based on surface Earth imagery captured by space satellites with telemetric technologies. This project combines various elements such as historical archives, telemetric imagery, maps, and geographic journal, constructing a series of global cultural geographical graph/journal that transcends history, platforms, and media, in an attempt to open up our various explorations with cutting-edge human technology.

This series is based on Itinerario, a book published in 1595 by the Dutch cartographer Jan Huyghen van Linschoten (1563-1611), who worked for the Portuguese East India Company. Linschoten's book contains the documentation of a lot of sailors' stories and local legends, and the sea monsters that appear in the book's interstitial maps, which are among the most important elements of the Jakarta Event Book

The main methodology of Jakarta Event Book is the "re-writing" of world history and, arguably, the virgin voyage of an "age of re-discovery." Using the coordinates of Jakarta, the Asian headquarters of the Dutch East India Company, the artists attempted to create a virtual landscape using extraterrestrial telemetry imaging technology, building an important scene in the construction of their global theatre.

Through a pseudo-historical narrative, Chiu and Guillemot have created a documentary that attempts to re-cognate, connect, and become a possible narrative in fragmentary historical events; they have used the virtual space of the first-person perspective to create dialogues between art and history through the virtual world, converting the original historical text into the art space.

Using satellite telemetry, the artist combines real-time earth imagery obtained by global monitoring with cutting-edge space technology and a composite multi-time series layer build with digital 3D point-cloud techniques. From the ancient maps in Itinerario to telemetric images of modern technology, the artists construct a new surface for the earth by combining layers of asynchronous maps with the intention of re-stitching spatial-temporal rifts. The artists' creative narratives, constructed by bridging the breakages in time and space with various maps, are all self-reflexive creations of technology text in the form of "rewriting" the text.

The world of technology built on electronic techniques is interconnected, and the "Global village" created by the aggregation of techniques is the ultimate image of the present world. However, in the exhibition room, the oceans—the “negative space” of the globe-are reversed and become like a golden rice field, reflecting on the relationship between human and ocean, and further relates to the dialectics of human and real/virtual space.

泛‧南‧島藝術祭(Pan-Austro-Nesian Arts Festival)

2021.07.17 - 2021.11.14

《泛‧南‧島藝術祭》展名「PAN──泛、南方、島嶼」,分別具有以下意涵:

泛Pan-廣泛與跨越邊界的視野

南方Austro-多元與非中心收束的觀點 

島嶼Nesian-海洋性多邊連結

透過「南方」與「島嶼」這兩個詞彙在概念上的「流動」與「游離」,我們想提出與主流現代主義文化具相對性「開放」的概念;而在「泛」的概念下,我們期盼在全球文化語境中,透過當代藝術提供超越血緣、語言、族群等跨疆界的「議題共同區」。

 

《泛‧南‧島藝術祭》立基於高美館長期對南島當代藝術的研究與關注,以島嶼而非陸塊作為關注基準點,擁抱海洋流動、去疆界的特質,以「藝術祭」形式,促進城市新文化品牌的建立。本展邀請了臺灣、澳洲、紐西蘭、韓國、日本、巴基斯坦、法國共23組藝術家參與,展區分為「從已知到未知」、「暗黑島嶼」與「生生流轉」共三個子題。第一子題「從已知到未知」著眼於人如何從已知的本土,面向未知的境地。第二主題「暗黑島嶼」,則更進一步的深入帝國主義與殖民影響,包含社群衝突及剝削之下的深沉水域,反省傷痕修復的可能性。第三主題「生生流轉」則思考站在當代千瘡百孔的世界,我們又該如何自處?


藝術家
Yuki Kihara/ 王虹凱/ 吳思嶔/ 吳燦政 / 杉本博司/ 宜德思‧盧信/ 拉黑子‧達立夫 / 東冬‧侯溫/ 林介文/ 拉拉‧魯克/ 邱杰森&莫珊嵐/ 簡‧金‧凱森 / 約翰‧普爾 /娜辛娜.霍海亞/ 張致中 / 張恩滿/ 強納森‧瓊斯 / 蒂摩爾古薪舞集/ 雷恩 / 雷斌 / 劉哲安 / 盧建銘 / 蘿拉‧葛里諾

The permanent currents of the ocean are, in a way, the most majestic of her phenomena.

This invisible power reaches across the planet, tugging on the gigantic water body that envelopes the planet and forms a myriad of extraterrestrial connections with the mysterious universe. When Austronesians sailed toward the broader world in outboard canoes, their movements along the currents became a quality of the signature characteristic of Austronesian culture.

The title of Pan-Austro-Nesian Arts Festival represents:

Pan ─ expansive, all-inclusive visions that transcend boundaries.

Austro ─ plural, non-center-constrained perspectives.

Nesian ─ multilateral oceanic connections.

Compared to mainstream cultures of modernism, the concepts of “Austro” and “Nesian” enjoy relative “openness,” conveying fluidity and dissociation. Also, referring to the “Pan” concept, we hope to create a common ground through contemporary art, where issues are shared in a global cultural context and where communication transcends blood ties, languages, ethnic groups and national boundaries. 

The Pan-Austro-Nesian Arts Festival builds on Kaohsiung Museum of Fine Arts’ long-established research and interest in contemporary Austronesian art. By zeroing in on the islands instead of the continents, the arts festival embraces the fluidity and non-rigid territorial characters of the ocean, developing a new cultural brand for the city of Kaohsiung. Twenty-three groups of artists across Taiwan, Australia, New Zealand, South Korea, Japan, Pakistan, and France are participating in this exhibition. The exhibition is divided into three subtopics: “From Known to Unknown,” “Dark Islands,” “Circle of Life”. The first subtopic, “From Known to Unknown,” discusses how people set off from familiar grounds to explore unknown realms. The second subtopic, “Dark Islands,” looks further into the impact of Imperialism and Colonialism and beneath the deep waters of conflicts and exploitations in the community to reflect on the possibility of healing. The third subtopic, “Circle of Life,” contemplates our status in the embattled contemporary world: how shall we live with ourselves? 


Artists

Yuki Kihara/ Wang Hong-Kai/ Wu Sih-Chin/Wu Tsan-Cheng / Hiroshi Sugimoto/ Idas Losin/ Rahic Talif / Dondon Hounwn/ Labay Eyong/ Lala Rukh/ Chiu Chieh-Sen & Margot Guillemot/  Jane Jin Kaisen/ John Pule /Ngahina Hohaia/ Chang Chih-Chung /Chang En-Man/Jonathan Jones / Tjimur Dance Theatre /  Kulele Ruladen /Masiswagger Zingrur /Varig Tinaway / Lu Chien Ming / Lola Greeno