Curatorial Program Archives — ARKIPEL

Bromocorah: The Miscount

Sun, 25 Aug 2019 08:00:27 +0000

There are two definitions of bromocorah — or bramacorah — on the latest version of The Great Dictionary of the Indonesian Language. Both definitions refer to the legal term, and both are related to criminal acts. But, for Akbar Yumni, jury and curator for ARKIPEL bromocorah 7th – Jakarta International Documentary and Experimental Film Festival, bromocorah is present in the figure of Ustadz Ibrahim in Titian Serambut Dibelah Tujuh (The Holy Bridge) by Chaerul Umam (1982), presented in curatorial program Image and Dissensus, Sunday, August 25, 2019 at GoetheHaus Jakarta.

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The Journey of Forged Money

Sat, 24 Aug 2019 12:16:34 +0000

For me, L'argent shows the position of forged money as the connection of bromocorah phenomenon. It captures the narrative of the ability of forged money of deluding people to deviate the law. People with forged money have to be able to commit an affair with the law, and those unable to cheat would fall victim of the money. In this context, the position of the bromocorah concept, for me, is the forged money itself which attests the effectivity of the criminal justice system and the penalty sentenced for the outlaw.

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Image and Dissensus

Mon, 12 Aug 2019 19:04:45 +0000

Titian Serambut Dibelah Tujuh, are the moving images as imagined by Andre Bazin, always providing duration to the audience to continue choosing which image to be impressed; thus, the image is equivocal. The image always has the potential as a dissensus.

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Money! The Visible God!

Mon, 12 Aug 2019 18:52:59 +0000

Robert Bresson's cinema always suggests that there is another space off the screen. Both the visible and invisible spaces interact with each other to form a perception that unites series of events in the film. While in L'Argent, the audience already knows, without being shown, where Yvon Targe is going; he is returning to his previous place–the prison. Both characters emphasize a structure that forms an endless loop and continues to be passed down, both visible and invisible, and that is the culture of bromocorah.

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Focus On Kidlat Tahimik: The Screening of Who Invented the Yo-yo? Who invented the Moon Buggy

Thu, 16 Aug 2018 11:00:16 +0000

On its seventh day of event, Tuesday, August 14th 2018, ARKIPEL homoludens – 6th Jakarta International Documentary and Experimental Film Festival, screened the films of Kidlat Tahimik. Kidlat Tahimik is a renowned artist and film director from Philippines. The achievement from the films he produced has made him one of the most important filmmakers in South East Asia cinema.

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Returning to the Root of Tree with Kidlat Tahimik

Thu, 16 Aug 2018 08:00:41 +0000

The atmosphere on Tuesday (14/8) at Kineforum has started to be more crowded. About an hour before the screening, people began to queue to get the ticket to watch an oeuvre of KidlatTahimik, The Perfumed Nightmare (1977). Kidlat, who often dubbed as The Godfather of Philippines Independent Cinema, holds a very youthful spirit even in his 75 years of life.

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Pratyaksha: Living Outside the Western Understanding of Society

Wed, 15 Aug 2018 05:02:47 +0000

Who does the world belong to? Does it belong to mother nature, which provides us the resources we need to survive? Does it belong to the Gods? Those who gave this world to us and will take it back at anytime? Or does it belong to the humans? Who, centuries ago, learned to cultivate the fields and manipulate the landscape, taking without giving?

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The Spoken and Conjugated Ones With No Need of Words

Fri, 25 Aug 2017 03:00:27 +0000

There is no introduction on who is this man, also no explanation on what is he doing, or which sea referred on Two Years at Sea as the film’s title. Is he possibly isolating himself? Once, there were also photograph piling on the table, whoever they are and their relationship to the protagonist. Everything I saw started from the beginning of film only left question mark which its answer I wait for in the discussion.

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Seeking for The Lost Image

Wed, 23 Aug 2017 02:00:55 +0000

One of the works of the pioneering director in establishing the identity of the Indonesian national film that I will watch on the first day was entitled "Anak Perawan di Sarang Penyamun" (Virgin in The Bandit’s Headquarter) (1962). The film was adapted from the novel of Sutan Takdir Alisjahbana published 30 years before it was filmed by Usmar Ismail.

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Cinema as a Medium of Resistance

Mon, 21 Aug 2017 02:00:22 +0000

This curatorial program tries to invite us to be more critical to observe the septum of penal colony. Apparatus of penal colony always lives around us, forcing us to accept their logic, and causes us to be docile. It is an obligation for each enlightened individuals to resist any form of power that abolishes freedom. Through this curatorial program, it is clear that cinema is one of an essential instrument in that effort of resistance.

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