In ARKIPEL 2017 - Penal Colony, Film Show, International Competition, News
Bahasa Indonesia

Menambah Realitas, Kenyataan yang dimodifikasi

“Selamat datang di ARKIPEL 2017 ‘Penal Colony’, akan diputar program seleksi berjudul The Windmill, diambil dari salah satu adegan dari novel Don Quixote,” ujar seseorang dari arah kanan yang membuyarkan lamunan saya sekaligus membuat saya sadar kalau baru terdapat empat orang saja yang duduk tersebar di GoetheHaus, “Ada empat filem yang akan diputar di program ini.”

Jumat, 25 Agustus 2017, saya berkesempatan menonton Program Kompetisi Internasional 2: “Kincir Angin”. Dua dari empat filem yang akan saya tonton dibuat oleh sutradara yang berasal dari negara yang saat ini kebudayaan, linguistik serta sastranya masih saya pelajari di kampus, yaitu Jerman. Selebihnya berasal dari Tiongkok dan Spanyol.

“Program dari kuratorial ini mempertanyakan posisi sinema dalam berbagai temuan evolusi moving image, salah satu contohnya yang terbaru ialah augmented reality yang paling banyak terlihat di Pokémon GO,” ujar kurator hari ini, yaitu Afrian Purnama yang merupakan kritikus dan kurator filem, anggota Forum Lenteng sekaligus penulis utama di Jurnal Footage. Masih teringat jelas di pikiran kita, sebuah permainan augmented reality Pokémon GO yang terkenal di kalangan pemegang ponsel pintar dengan sistem operasi android maupun iOS. Berbagai kalangan, tua maupun muda, laki-laki maupun perempuan, semuanya memainkan game ini. Saya pun termasuk salah satunya.

Sesekali Afrian memberhentikan pembukaannya untuk mempersilakan penonton yang baru saja memasuki GoetheHaus. Menyadari beberapa penonton merupakan penutur bahasa asing, Afrian kemudian melanjutkan sapaannya dalam Bahasa Inggris. ”Menurut saya sinema masih relevan sebagai alat untuk ekspresi, sebagai alat untuk menemukan posisi dalam sosial politik—sebagai ekspresi politik,” tambahnya lagi dengan jelas kepada 14 penonton di program kuratorialnya, “Have a good time, thank you!

Filem pertama berjudul Passage (2016) yang sederhana namun sebenarnya menyimpan kekuatan yang besar. Karya Di Hu berdurasi 11 menit ini menunjukkan pemandangan jalanan kota di Tiongkok dengan mural dan juga gaya arsitektur Eropa yang rasanya tidak pada tempatnya yang tepat. Indah, namun tetap terasa janggal ketika melihatnya.

Puas dengan keindahan mural-mural di Passage itu, Hashti Teran (2016) menjadi filem kedua yang diputar. Berdurasi hampir satu jam, karya Daniel Kötter ini terdiri dari 4 bagian kota di Tehran—utara, barat, timur dan selatan. Tiap-tiap lokasi mempunyai perbedaan suasana maupun latarnya masing-masing, seperti utara dengan pegunungan saljunya, barat dengan pembangunan proyek perumahan masal serba modern, timur dengan pembangunan proyek perumahan yang sama namun tidak semodern dan sebaik di barat dan selatan yang sedang dalam proses direlokasikan dengan dalih pemekaran kota.

El Becerro Pintado (atau The Painted Calf, 2016) karya Davin Pantaleón menjadi salah satu filem yang menarik bagi saya. Sesuai judulnya, seekor sapi menjadi bintang utama filem berdurasi 10 menit ini. Terdapat dua adegan yang saling berkaitan, yang pertama beberapa orang laki-laki yang menyanyikan kisah yang tertulis di kitab suci mengenai kisah Harun, saudara dari Musa, yang membuat sebuah lembu emas sebagai Tuhan dengan iringan gitar dan yang kedua seorang laki-laki dengan seekor sapi yang ia cat berwarna emas. Perubahan sapi berwarna hitam menjadi warna emas itu sontak membuat seluruh penonton tertawa.

Das Gestell (2017) karya Philip Widmann menjadi penutup program kuratorial siang itu. Kata “Gestell“ sendiri sering dipakai oleh filsuf Jerman, Martin Heidegger, untuk mendeskripsikan apa yang ada di balik teknologi modern. Filem berdurasi 30 menit ini mengenai seorang filsuf Jepang yang menulis kepada seorang Jerman yang terkenal untuk mendapatkan saran: bagaimana orang Jepang dapat menangani teknologi yang integral dengan kehidupan modern. Seting tahun 1962-1965, keindahan Jepang, suara-suara dari brass band di pinggir jalan, juga dua bahasa yang saling berusaha dicari padanannya menjadi daya tarik tersendiri. ***

English

Augmenting Realness, The Modified Reality

“Welcome to the ARKIPEL 2017 ‘Penal Colony’, we will screen the program called The Windmill, taken from one of the scenes in Don Quixote novel,” said someone from the right interrupting my daydream but also made me realize that there were only 4 audiences sat scattered across the seats in GoetheHaus, ” There are 4 films screened in this program.”

Friday, August 25 2017, I had the chance to watch the International Competition 2 program: The Windmill. Two out of four films screened were made by a director who comes from a country whose culture, lingustics and literature were studied by me in the university, which is Germany. The rest were from China and Spain.

“This curatorial questions the position of cinema in various findings on the evolution of moving image, one of the example is augmented reality which mostly seen in games Pokémon GO,” said the curator today, Afrian Purnama who is a film critic and curator as well as member of Forum Lenteng and main writer in Jurnal Footage. Still remembered clearly in our minds, an augmented reality game, Pokémon GO, was famous among smartphone holders both with android operating system and IOS. Various people, young and old, men and women, all played this game. I was one of them.

Occasionally Afrian suspended his opening to let the new audiences entered the GoetheHaus. Realizing that some audiences were foreign-language speakers, Afrian continued his introduction in English. “I think cinema is still relevant as a means of expression, as a means for finding the positions in social and politics — as a political expression,” he added clearly to 14 audiences on his curatorial program, “Have a good time, thank you!”

The first film was Passage (2016) which was simple but actually has great power. This 11-minutes work of Di Hu showed the city street views in China with mural and also European architectural styles that do not feel right. Beautiful, but it still felt awkward when you see it.

Satisfied by the beauty of murals in the Passage, Hashti Teran (2016) became the second film screened. Within almost an hour, this work of Daniel Kötter consists of 4 parts of the city in Tehran— north, west, east and south. Each location has its own distinct atmosphere and setting, such as the north one with its snow-mountains, the west with its bulk construction of all modern housings, the east with the same housings project but not as modern and as well constructed as in the west and  the south that were in the process of being relocated under the pretext of city expansion.

El Becerro Pintado (or The Painted Calf, 2016) by Davin Pantaleón was one of the appealing films for me. As the title suggested, a cow was the main star of this 10 minutes film. There were two interconnected scenes, the first was a few men singing the scriptures of Aaron, the brother of Moses who made a golden cow as his Lord, along with melody of a guitar and the second was a man with a cow which he painted gold. The change of the cow’s color from black into gold instantly made the whole audiences laughed.

Das Gestell (2017) by Philip Widmann was the closure of this curatorial program. The word “Gestell” itself was often used by Germany philosopher, Martin Heidegger, to describe what lies behind modern technology. This 30 minutes film was about a Japanese philosopher who wrote to a famous Germany for advice: how the Japanese can handle technology that is integral to modern life. Set in 1962-1965, the beauty of Japan, voices of the brass band on the streetside, as well as two languages that mutually sought for its match, became its own attraction.***

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