Ia hidup dalam ruang imamat di sebuah lahan usang. Ketidaktahuan tentang bahasa yang mendaulat dari rezim yang lalu, justru memberinya keberanian untuk menuturkan kisahnya sendiri dengan memakai peranti warisan dari seorang Begawan dari masa lampau. Keberanian dari ketidaktahuan tersebut menghasilkan sebuah pergeseran resam yang menjadi keniscayaan baru.
Baginya, menggenggam peranti Sang Begawan adalah kesempatan baik untuk mengungkap narasi kecil miliknya yang selama ini terpendam di dalam tanah, di saat Sang Begawan beranjak tua dan menjadi renta.
Saat dia berjalan mengelilingi lahan usang sambil meneladan gerak kuasa Sang Begawan tua, sungguh terasa menyenangkan, saat ia melakukannya dalam gestur yang ia dan kaumnya pahami saja. Keleluasaan memungkinkannya untuk berintimasi dengan semua ruang dan batas-batas, sambil abai pada kaidah lama yang selalu menahan diri.
Sementara, kabar tentang wajah renta sang Begawan yang kini menjadi kelabu tersiar dengan begitu cepat hingga ke rantau-rantau. Wajah itu memudar, beriringan dengan memudarnya angka-angka, struktur, dan ruang tempat di mana dugaan-dugaan dirumuskan menjadi bukti yang terukur. Meneladan peranti dan otoritas Sang Begawan segera menjadi hasrat baru dalam sudut-sudut sosial yang penuh dengan sekat. Peranti cerdik dan rasa dominan milik Sang Begawan kini menerabas kekakuan sekat-sekat yang dimapankan oleh ajaran Sang Begawan itu sendiri.
Akhirnya dia tiba pada satu ruang terbuka di mana ia tidak lagi melakukan uji coba untuk memecahkan kebenaran atau kesalahan. Yang dilakukannya adalah memuja keyakinan diri tentang “subordinat” yang menjadi “dominan” karena diterangi oleh cahaya yang terproyeksi dari peranti Sang Begawan, walau bayang-bayang Sang Begawan terus memunculkan dirinya berulangkali. Namun ia tetap meyakininya dengan segenap hati. Ia yang teguh itu bernama Mutan.
He has been living in the priesthood in a dumpy estate. His blindness towards language, derived from the past reigns, has gifted him the courage to tell his own stories through the device he inherited from the old priest from the past. The courage that sprung out of his illiteracy has given rise to a shift to new courtesy to become the sine qua non.
To him, holding the Priest’s device is a good chance to reveal his small narrative that has long been buried in the ground, while The Priest grows older and more senile.
Circling around the dumpy estate, while mimicking the old Priest’s gestures of authority, it looks enchanting, moreover when he translates them into gestures understandable only by him and his folks. Flexibility enables him to reach out the space and boundaries intimately, while abandoning the old miser conventions.
Meanwhile, the senile face of the Priest fades away, the news spreads quickly across to other shores. The face fades away, along with the fading of numbers, structures, and spaces where conjectures were formulated as the proof, mathematically. Mimicking the Priest’s device and authority has becoming a new desire that sways through the well-divided social corners. The smart device and the sense of dominance which were belong to the Priest, now are able to break through the rigid boundaries established by the Priest’s own sermon.
Eventually, he arrives at an open space where he no longer needs to figure out to resolve the truth or falsity. What he is doing now is worshipping upon the self-belief on the “subordination” which has grown into “domination”, illuminated by the lights projected from the Priest’s device, even though the Priest’s shadow keeps showing himself up over and over. Nevertheless, he keeps holding his own faith wholeheartedly. He, the devoted one, the Mutant.
International Competition
Bocamina / Pithole (2018), Miguel Hilari
Bolivia, Spanish, 22 minutes, color
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What Remains (2018), Belit Sağ
Turkey, 7 minute, Color
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Weirdloop (2018), Alexander Cooper
UK, 131 minutes, Color
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Tupinambá Lambido (2018), Lucas Parente,
Brazil, 10 minutes, Color
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The Trial (N°2) (2019), Bouge Alexandra
France, 13 minutes, Color
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The Satan’s Horn (2019), Mohammad Hadi Ghorbani
Iran, 62 minutes, Color
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The Plato (2019), Mohammad Ghanbari
Iran, 69 minutes, Color
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The Love of Statues (2019), Peter Samson
UK, 20 minutes, Black & White
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The Future Cries Beneath Our Soil / Mùa Cát Vọng (2018), Pham Thu Hang
Vietnam, 96 minutes, color
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Stones / Steine (2018), Jörn Staeger
Germany, 7 minutes, Color
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Space Memory / Memoria del Espacio (2018), Rodrigo Noya
Argentina, 10 minutes, Color
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Saturation (2019), Perrine Liévois
France, 29 menit, Black & White
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Sapu Angin / Windswept (2017), Cahyo Prayogo
Indonesia, 5 minutes, Color
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Real Time History (2018), Foundland Collective
Syria, 22 minutes, Color
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Memento Stella (2019), Takashi Makino
Japan, 60 minutes, Color
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Liquid Traits of an Image Apparatus (2019), Vera Sebert
Austria, 7 minutes, Black & White
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Last Night I Saw You Smiling / Yub Menh Bong Keunh Oun Nho Nhim (2018), Kavich Neang
Cambodia, 78 minutes, Color
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Dulcinea (2018), Luca Ferri
Italy, 64 menit, Color
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Distant Tropics / Trópicos distantes (2018), Marcelo Costa
Brazil, 35 minutes, Color
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Come to Me Paradise / Lumapit Sa Akin, Paraiso (2017), Stephanie Comilang
Canada, 25 minutes, Color
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Chinafrika.mobile (2018), Daniel Kötter
Germany, 38 minutes, color
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Chairs (2018), Avner Pinchover
Israel, 11 minutes, Color
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Centar (2018), Ivan Marković
Serbia, 48 minutes, Color
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Cámara Oscura (2017), Javier Miquelez
Argentina, 61 minutes, Color
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Big Brother Hui (2019), Feng Yangyang
China, 79 minutes, Color
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And What is The Summer Saying (2018), Payal Kapadia
India, 23 minutes, Black & White
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Adegan Yang Hilang Dari Petrus (2019), Arif Budiman
Indonesia, 5 minutes, Color
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Absent Wound (2018), Maryam Tafakory
Iran, 10 minutes, Color
I would like to attend Art Film and Music events at Arkipel. Please do include me in the mailing list pls