ARKIPEL Penal Colony – Asian Young Curator

ARKIPEL – International Documentary and Experimental Film Festival bukan hanya sebagai wadah pembuat filem, tetapi juga bagi kurator filem yang ingin menuangkan pemikiran untuk perkembangan sinema. Tahun ini, ARKIPEL Penal Colony – 5^th International Documentary and Experimental Film Festival memilih dua kurator muda di Asia untuk mengisi Program Kurator Muda Asia, menanggapi tema “Penal Colony”. Program ini dimaksudkan untuk berbagi spektrum sinema terkait tema, dengan konteks yang lebih luas, sehingga dapat memperkaya khazanah sinema di lingkup nasional, regional, dan global.

ARKIPEL – International Documentary and Experimental Film Festival is not only an event for filmmakers, but also for film curators who want to put their thoughts into the development of cinema. This year, the ARKIPEL Penal Colony – 5th International Documentary and Experimental Film Festival selected two young curators in Asia who will present their curatorial in Asian Young Curator Program, responding to the theme of “Penal Colony”. The program aims to share the any spectrums related to the theme in a broader context so that it can enrich the treasury of cinema discourses in national, regional and global scope.

Riar Rizaldi adalah seniman dari Indonesia. Karya-karyanya terutama berfokus pada hubungan antara manusia dan teknologi, media dan konsumen elektronik, sirkulasi gambar dan intervensi jaringan. Rizaldi telah mengembangkan praktik ‘post-disciplinarity‘, di mana dia bekerja sama dan membangun karyanya di luar disiplin dan institusi seni. Melalui karyanya, dia mempertanyakan gagasan tentang temporalitas, virtualitas, kecerdasan buatan, arkeologi media, dan konsekuensi teknologi yang tak terduga dalam kehidupan manusia. Karya-karyanya telah dipamerkan dan dipentaskan di lingkup internasional.

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Riar Rizaldi is an artist from Indonesia. His works mainly focus on the relationship between human and technology, media and consumer electronics, image circulation and network intervention. Rizaldi has developed a practice of ‘post-disciplinarity,’ in which he collaborates and building his works beyond the art disciplines and institutions. Through his works, he questions the notion of (a)temporality, virtuality, artificial intelligent, media archeology, and unanticipated consequences of technologies in human life. His works has been exhibited and performed internationally.

Perkenankan Kami Untuk Beristirahat:
Kecepatan, Teknologi, Objek dan Sinema Yang Liyan

Rizaldi mengurasi filem-filem ke dalam program ini sebagai respon terhadap gelagat kehidupan manusia zaman sekarang yang tidak lepas dari pengaruh kapitalisme global dan perkembangan mutakhir media, di mana keserbacepatan yang merupakan ciri utamanya menimbulkan dilema bagi masyarakat kontemporer dengan mobilitas dan keterhubungan yang intens. Kuratorial ini merefleksikan keadaan itu dengan mengupayakan pemahaman atas kecepatan dan percepatan tersebut lewat estetika. Empat filem dihadirkan dalam kuratorial ini sebagai usaha mencari estetika kecepatan dan percepatan. Tiga dari empat filem-filem ini memfokuskan diri mereka sebagai eksperimentasi dari kecepatan, sedangkan satu filem lainnya memberikan suplemen berupa observasi tentang bagaimana kecepatan berimbas secara mental dan fisik bagi sekumpulan orang.

Let Us Take a Break:
Speed, Technology, Object and The Other Cinema

Rizaldi curated films in this program as a response to the attitude of human’s life today that is inseparable from the influence of global capitalism and recent sophisticated development of media, where speediness as its main characteristic evoking a dilemma for contemporary society with intense mobility and connectedness. This curatorial reflects such state through the attempt to understand those speed and acceleration through aesthetics. These four films are presented in this curatorial as an effort to find the aesthetics of speed and acceleration. Three of these four films focus on experimentation of speed, while the other one provides supplements of observation about how the speed impacting a group of people, mentally and physically.

Jihyeon Song (lahir 1987), bekerja independen di Seoul, tertarik mengeksplorasi ‘material’ dan karya-karya seni berbasis filem di ranah seni kontemporer. Senantiasa, ia juga mengkaji bidang kurasi filem. Ia mengurasi pameran, program penayangan, di antaranya “UnFolding Time” (2015), “During the Play” (2017). Fokusnya ialah karya-karya gambar bergerak berbasis seni visual di ranah Seni Korea.

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Jihyeon Song (born 1987), works as an independent curator based in Seoul. She is interested in exploring ‘Material’ and ‘Film-based Art Work’ in Contemporary Arts. Constantly, she is exploring film curatorship. She curated exhibition, screening programs including “UnFolding Time” (2015), “During the Play” (2017). Her focus on visual arts-based moving image in Korean Art.

Closure

Dalam kuratorial ini, Song Jihyeon menyoroti bagaimana kolonisasi psikologis bekerja dan menjadi metafor bagi kekuatan pengaruh yang menggenggam secara tak terlihat lewat kontrol sistematis atas pikiran. Karya dari enam seniman yang dikurasi berkonsentrasi pada topik kolonisasi psikologis tersebut, dan kuratorial ini membuka ruang renungan yang di dalamnya kita diajak untuk berpikir tentang fakta bahwa kolonisasi tidak bisa dilepaskan dari sistem kontrol sosial, tentang fakta bahwa dominasi fisik pada akhirnya menuntun kea rah dominasi psikologis, visual, dan mental.

Closure

In this curatorial, Song Jihyeon highlights how psychological colonization works and becomes a metaphor for the power of influence that grips in invisibly through systematic control of mind. The curated works of six artists concentrate on the topic of psychological colonization, and this curatorial reveals a space of reflection in which we are invited to think about the fact that colonization is inseparable from social control system, about the fact that physical dominance ultimately leads to psychological, visual, and mental domination.