top of page
Jakarta Event Book


Multi-channel video, stereo sound; 17’06”


JAKARTA EVENT BOOK 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. e artists’ creative narratives, constructed by bridging the breakages in time and space with various maps, are all self-re exive 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.



〈雅加達事件簿〉〈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,試圖開啓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。邱杰森與莫珊嵐所重編的世界地理誌, 更可以說是「地理再發現」的創作啓航。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。邱杰森與莫珊嵐透過「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,變成一種可能的敍事方式;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。藝術家使用衛星的遙測影像,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敍事性創作,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,進而對應到人與眞實/虛擬空間的辯證。

Margot Guillemot & Chiehsen Chiu

bottom of page