Unless You’re Living It: Dis/Integration
Jika Kau Telah Menjalaninya: Dis/Integrasi
Curator: Scott Miller Berry, re:assemblage collective
Sunday, August 25, 2019 | 16:00 | GoetheHaus
“But I never said I would stay to the end
I knew I would leave you and fame isn’t everything
Screaming like this in the hope of sincerity
Screaming it’s over and over and over
I leave you with photographs, pictures of trickery
Stains on the carpet and stains on the memory
Songs about happiness murmured in dreams
When we both of us knew how the end always is
How the end always is…” – The Cure, “Disintegration” (1989)
Setiap filem dalam program kompilasi yang terdiri dari 9 filem pendek ini menggali makna kehilangan melalui eksplorasi pribadi dari manusia dan/atau melalui disintegrasi politik. Tiap filemnya juga adalah catatan harian dari seorang manusia tentang dirinya, masuk ke dalam cerita-cerita mereka dengan cara yang emosional; di dalamnya, sentuhan pribadi si pembuat membentuk estetika: baik dengan proses manual menggunakan seluloid, rekaman footage arsip video, penciptaan langsung dalam kamera, rekaman VHS, rekaman dengan kualitas standard-definition atau pemrosesan filem dengan tumbuh-tumbuhan.
Jika strip filem atau layar video bentuknya datar, maka apakah filem punya kedalaman? Apakah kedalaman tersebut diukur dari gradasi warnanya atau estetikanya atau apa yang dibicarakannya? Saya berpendapat bahwa filem atau video yang diproyeksikan benar punya kedalaman, tetapi bagaimana itu bisa dilihat dalam format presentasi di bidang yang “datar” atau kedalaman tersebut ada di benak penontonnya?
Dalam tiap filem di program yang bertajuk Jika Kau Telah Menjalaninya: Dis/Integrasi, kedalaman emosi digali dengan indah melalui sentuhan tangan yang akan membawa tubuh dan jiwa penonton masuk ke dalam layar dan juga melampauinya. Tiga karya dari Christine Negus dalam program ini berbicara tentang eksplorasi pribadi akan kehilangan, kepunahan, dan luapan perasaan. Malena Szlam dengan filemnya Lunar Almanac membawa kita ke bingkaian suatu langit dengan refleksi dari cahaya yang menari-nari. Karya esai video dari Cecilia Aranade, The Space Shuttle Challenger, menggambarkan imbas peristiwa sejarah yang barbar terhadap seorang pengungsi belia. Alexandra Gelis lewat karyanya The Island adalah sebuah potret intim seorang tukang kebun yang terus melawan, bertahan, dan menjalani kehidupan; dengan medium seluloid lewat kebersentuhan tangan. Sarah Bliss dengan karyanya Unless You’re Living It adalah potret verité akan sebuah kota kecil Mount Forest di Ontario, dituturkan melalui tangkapan foto dan wawancara yang intim dengan penduduk setempat, dengan medium film 16mm yang diwarnai. It Matters What karya Franci Duran adalah sebuah jukstaposisi kompleks tentang manusia, hewan, dan tumbuhan, dalam proses fotografis yang disarikan oleh Donna Haraway, seorang akademisi. Sharlene Bamboat menghadirkan sebuah esai video yang dinamis lewat karyanya Video Home System. Lewat filem itu, ia mengkontraskan budaya populer, gerakan politik nasionalisme, dan aspek ekonomi gerakan filem bawah tanah di Pakistan pada periode 1980-an dan 1990an.
“But I never said I would stay to the end
I knew I would leave you and fame isn’t everything
Screaming like this in the hope of sincerity
Screaming it’s over and over and over
I leave you with photographs, pictures of trickery
Stains on the carpet and stains on the memory
Songs about happiness murmured in dreams
When we both of us knew how the end always is
How the end always is…” – The Cure, “Disintegration” (1989)
The nine short films in this program each explore notions of loss through profound personal explorations of personal and/or political disintegration. Each short is a personal diary unto itself, delving into his/herstories in profoundly emotional ways; wherein the form is only assisted through tactility: whether hand-processed celluloid, archival video footage, in-camera creation, VHS tapes, standard-definition recording or processing films with plant life.
If the film strip or video screen is flat, does film have depth? Is such depth in regards to color grading or to the form or the content? I would argue that the projected film or video does have depth, but what does that look like in a ‘flat’ presentation or reception format?
In each of the nine films in Unless You’re Living It: Dis/Integration, emotional depth is beautifully explored through hands-on approaches that bring the viewers body and mind into the screen and beyond. Christine Negus’s videos anchor the program with three personal explorations of loss, extinction, and exaltation. Malena Szlam’s film Lunar Almanac takes us to the sky for a single frame ecstatic dance of light play and reflection. Cecilia Araneda’s video essay The Space Shuttle Challenger reflects on the impact of barbarous historical events on a young refugee. Alexandra Gelis’s The Island is a small-gauge hand-made portrait of a gardener who continues to resist, survive, and thrive. Sarah Bliss’s Unless You’re Living It is a verité portrait of small-town Mount Forest, Ontario told through intimate photography and interviews with its residents via hand-processed 16mm film and painted color. Franci Duran’s It Matters What is a multilayered juxtaposition of human, animal and plant lives and the power of plant life in the photographic process as filtered through theorist Donna Haraway. Sharlene Bamboat’s Video Home System is a dynamic video essay that contrasts popular culture, political nationalism and the underground film economies in Pakistan of the 1980s and 1990s.
Film List
Lunar Almanac
Filmmaker Malena Szlam (Canada)
International Title Lunar Almanac
Country of Production Canada
Language –
Subtitle –
4 min, silent, 16 mm, color, 2013
“Lunar Almanac menelusuri titik-titik pengamatan siklus bulan dalam serangkaian visual. Dengan bingkai tunggal dan teknik fotografi long-exposure, tanpa diubah, dan penyuntingan langsung di kamera, filem ini memadu-padankan lebih dari 4.000 citra dari bulan setengah, bulan mati, dan bulan penuh. Citraan-citraan tersebut melintasi layar dengan energi yang intens, menerangi lamunan malam sebagaimana juga mimpi kita.”- M.Z.
“Lunar Almanac traces the observational points of the lunar cycle in a series of visual notations. Using single-frame and long-exposure photography, the unaltered, in-camera editing accumulates over 4,000 layered field views of half-moons, new moons, and full moons. These lunar inscriptions flit across the screen with a frenetic energy, illuminating nocturnal reveries that pull at the tides as much as our dreams.” – M.Z.
Malena Szlam (lahir di Chili, tinggal di Montreal) adalah seorang seniman-pembuat filem yang bekerja di perlintasan antara sinema, instalasi, dan performans. Praktiknya mengeksplorasi hubungan antara alam, persepsi, dan proses intuitif. Karyanya telah dipamerkan di berbagai festival dan museum, termasuk di Toronto International Film Festival, International Film Festival Rotterdam, Viennale, Hong Kong Film Festival, New York Film Festival, Museum Seni Rupa Boston, Museum Seni Modern Buenos Aires, dan Museum Seni Modern Louisiana.
Malena Szlam (b. Chile, lives in Montreal) is an artist-filmmaker working at the intersection of cinema, installation and performance. Her practice explores the relationship between the natural world, perception, and intuitive process. Her work has been exhibited in festivals and museums including the Toronto International Film Festival, International Film Festival Rotterdam, Viennale, Hong Kong Film Festival, New York Film Festival, Museum of Fine Arts Boston, Buenos Aires Museum of Modern Art and the Louisiana Museum of Modern Art.
Our Home
Filmmaker Christine Negus (Canada)
International Title Our Home
Country of Production Canada
Language English
Subtitle –
3 min, stereo, video, color, 2013
“Sebuah model miniatur kabin dibakar selagi lagu ‘This Haunted House’ versi Loretta Lynn dilantunkan dan dua pohon pelindung raksasa menatapnya.” – C.N.
“A miniature model of a cabin is set aflame while a droning version of Loretta Lynn’s ‘This Haunted House’ rings out and two ghoulish tree protectors stare on.” – C.N.
Christine Negus adalah seniman multidisiplin yang menerima penghargaan Pembuat Filem/Video Kanada Terbaik dari NFB di Images Festival pada tahun 2008. Negus memperoleh gelar MFA dari Universitas Northwestern pada tahun 2010 dan gelar BFA dari Universitas Western pada tahun 2008. Beberapa pamerannya yang terkenal meliputi: the8fest, CROSSROADS, MIX NYC, Dunlop Gallery, Queer City Cinema, AKA artist-run, Artists’ Television Access, Milwaukee Underground Film Festival, Museum London, Media City Film Festival, Art Gallery of York University, Swedish Film Institute, dan Kasseler Dokfest.
Christine Negus is a multidisciplinary artist who received the NFB’s Best Emerging Canadian Video/Filmmaker award at the Images Festival in 2008. Negus obtained her MFA from Northwestern University in 2010 and her BFA from Western University in 2008. Some of her notable exhibitions include: the8fest, CROSSROADS, MIX NYC, Dunlop Gallery, Queer City Cinema, AKA artist-run, Artists’ Television Access, Milwaukee Underground Film Festival, Museum London, Media City Film Festival, Art Gallery of York University, Swedish Film Institute, and Kasseler Dokfest.
The Space Shuttle Challenger
Filmmaker Cecilia Araneda (Canada)
International Title The Space Shuttle Challenger
Country of Production Canada
Language English and Spanish
Subtitle English
9.5 min, stereo, video, color/B&W, 2017
“Menggunakan found footage, filem ini menjalin peristiwa tragis pesawat ulang-alik Challenger, Teluk Guantanamo, kudeta di Chile, dan pengalaman pribadi pembuatnya saat berusia 16. Ini juga adalah refleksi pribadi atas imbas peristiwa besar sejarah dunia dan momen kecil penuh harapan yang selalu ada.” – C.A
“Through found footage, The Space Shuttle Challenger entwines the Challenger disaster, Guantanamo Bay, Chile’s coup d’état and experiences of being 16. It reflects on the personal impact of large events in world history and small moments of hope that survive.” – C.A.
Cecilia Araneda adalah pembuat filem asal Chili-Kanada yang datang ke Kanada sebagai seorang anak dan pengungsi bersama keluarganya setelah mereka lolos dari kediktatoran militer Chili. Dia telah menyelesaikan 15 filem pendek hingga saat ini, yang telah disajikan di berbagai festival filem, ruang-ruang yang dikelola seniman dan berbagai museum seni di seluruh dunia termasuk di Visions du Reél, Ann Arbor, Jihlava IDFF, Images Festival dan Festival du Nouveau Cinéma. Karya-karyanya pernah ditayangkan pula di Buenos Aires, Ottawa, Toronto dan Winnipeg.
Cecilia Araneda is a Chilean-Canadian filmmaker who came to Canada as a child, as a refugee, with her family after they escaped Chile’s military dictatorship. She has completed 15 short films to-date, which have been presented at film festivals, artist-run centers and art museums around the world including Visions du Reél, Ann Arbor, Jihlava IDFF, the Images Festival, and Festival du Nouveau Cinéma. Solo surveys of her work has been presented in Buenos Aires, Ottawa, Toronto and Winnipeg.
The Island
Filmmaker Alexandra Gelis (Canada)
International Title The Island
Country of Production Canada
Language English
Subtitle –
6 min, stereo, Super 8mm on video, B&W, 2019
“Sebuah taman di antara Oakland dan Berkeley, California di Amerika Serikat, yang para penghuni di dalamnya menanam penghormatan atas sosok-sosok yang mereka cintai dalam bentuk bebuahan dan bebungaan. Ruang cinta dan kebebasan tersebut dijaga oleh Brian dalam 25 tahun terakhir. Pulau tersebut menolak, layaknya warisan sejarah Black Panthers di masa kini. Dibuat dengan Super 8mm, dan diproses dengan tangan lalu dipindai ulang berkali-kali sampai mencapai efek citraan yang semakin lama semakin rusak.” – A.G.
“A garden between Oakland and Berkeley, California, USA where residents of the neighborhood plant tribute to their loved ones via fruit plants and flowers. Spaces of love and freedom are cared for by Brian for the last 25 years. The island resists, like the living legacy of the Black Panthers today. Made in Super 8mm, processed by hand and re-scanned multiple times until it achieves a deterioration effect worthy of the image.” – A.G.
Alexandra Gelis adalah seniman Kolombia-Venezuela yang tinggal dan bekerja di Toronto, Ontario. Praktik studionya menggabungkan media baru, instalasi, dan fotografi dengan elektronik yang interaktif yang dibuat secara khusus. Proyek-proyeknya menggabungkan penelitian lapangan yang personal sebagai instrumen untuk menyelidiki ekologi berbagai lanskap dengan memeriksa jejak yang ditinggalkan oleh berbagai intervensi sosial-politik. Dia telah berpameran di berbagai negara seperti di Amerika Utara dan Selatan, Eropa dan Ethiopia.
Alexandra Gelis is a Colombian-Venezuelan artist living and working in Toronto, Ontario. Her studio practice combines new media, installation, and photography with custom-built interactive electronics. Her projects incorporate personal field research as a tool to investigate the ecologies of various landscapes through examining the traces left by various socio-political interventions. She has exhibited internationally in North and South America, Europe and Ethiopia.
Unless You’re Living It
Filmmaker Sarah Bliss (USA/Canada)
International Title Unless You’re Living It
Country of Production USA/Canada
Language English
Subtitle –
8 min 22 sec, stereo, 16mm film on video, B&W/ hand painted color, 2019
“Sebuah gambaran unik nan menggugah rasa akan tempat dan kuasa di lingkungan kulit putih di Ontario yang menantang korelasi antara melihat dan mengetahui serta kebinasaan kapitalisme tingkat lanjut. Diproses dengan tangan, cetak, pewarnaan, dan penyelarasan warna yang membuat seakan filem ini sendiri seperti tubuh-tubuh penduduk di Mount Forest, yang menahan luka serta menopang beban, tetapi memiliki kapasitas untuk bergembira, bersenang-senang, dan bertransformasi. Terima kasih khusus pada Phil Hoffman dan Program Retreat Film Farm 2016, dimana filem ini dibuat dan diproses.” – S.B.
“An edgy, unsettling portrait of place and power in rural white Ontario that challenges the correlation between seeing and knowing and the ravages of late-stage capitalism. Hand-processing, contact printing, tinting, and toning engage the film as a body that, like the residents of Mount Forest, sustains injuries, wounds, and burdens, but also has the capacity for delight, revelatory pleasure, and transformation. With special thanks to Phil Hoffman and the 2016 Independent Imaging Retreat (“Film Farm”), where Unless You’re Living It was shot and hand-processed.” – S.B.
Sarah Bliss adalah seorang pembuat filem, seniman yang berasal dari keturunan Eropa Utara. Karya-karyanya mencoba memfasilitasi perjumpaan dengan tubuh yang merasa dan berhasrat. Ia juga melibatkan sejarah personal dan sejarah sosial, ia bekerja secara artisanal dengan film dan video yang menekankan pada proses sentuhan tangan, untuk menciptakan berbagai proyek eksperimental dan dokumenter serta berbagai instalasi yang melibatkan pemirsa secara mendalam. Karya-karyanya telah dipresentasikan di berbagai festival dan museum termasuk Edinburgh International Film Festival; Museum of Contemporary Art, Taipei; Fracto Film Encounter; Transient Visions dan Anthology Film Archives. Ia mengajar pembuatan filem tanpa kamera dan merupakan anggota Boston’s AgX Film Collective.
Sarah Bliss is a filmmaker, artist and educator of Northern European descent whose work facilitates deep encounter with the sensate, desiring body. Engaging personal and social history, she works artisanally with hand-processed film and video to create experimental and documentary projects and immersive installations. Her work has been screened at festivals and museums including Edinburgh International Film Festival; Museum of Contemporary Art, Taipei; Fracto Film Encounter; Transient Visions and Anthology Film Archives. She teaches cameraless filmmaking and is a member of Boston’s AgX Film Collective.
Frozen Giants
Filmmaker Christine Negus (Canada)
International Title Frozen Giants
Country of Production Canada
Language English
Subtitle –
4 min, stereo, video, color, 2014
“Filem Frozen Giants menjelmakan sisi traumatis yang ada di lagu ‘Under the Sea’ (produksi Disney). Diproduksi di pantai Nova Scotia dengan fosil-fosilnya, narator dalam filem ini membisikkan ‘sang laut adalah rumah yang menyeramkan’ diiringi tangkapan terhadap bebatuan untuk menggambarkan kehilangan dan kematian.” – C.N.
“Frozen Giants realizes the traumatic truths going on (in the Disney song) ‘Under the Sea’. Shot on a Nova Scotia beach that is tormented with fossils, the narrator suggests ‘the sea is a haunted house’ as she uses the rocks, she finds to discuss loss and death.” – C.N.
Christine Negus adalah seniman multidisiplin yang menerima penghargaan Pembuat Filem/Video Kanada Terbaik dari NFB di Images Festival pada tahun 2008. Negus memperoleh gelar MFA dari Universitas Northwestern pada tahun 2010 dan gelar BFA dari Universitas Western pada tahun 2008. Beberapa pamerannya yang terkenal meliputi: the8fest, CROSSROADS, MIX NYC, Dunlop Gallery, Queer City Cinema, AKA artist-run, Artists’ Television Access, Milwaukee Underground Film Festival, Museum London, Media City Film Festival, Art Gallery of York University, Swedish Film Institute, dan Kasseler Dokfest.
Christine Negus is a multidisciplinary artist who received the NFB’s Best Emerging Canadian Video/Filmmaker award at the Images Festival in 2008. Negus obtained her MFA from Northwestern University in 2010 and her BFA from Western University in 2008. Some of her notable exhibitions include: the8fest, CROSSROADS, MIX NYC, Dunlop Gallery, Queer City Cinema, AKA artist-run, Artists’ Television Access, Milwaukee Underground Film Festival, Museum London, Media City Film Festival, Art Gallery of York University, Swedish Film Institute, and Kasseler Dokfest.
It Matters What
Filmmaker Francisca Duran (Canada)
International Title It Matters What
Country of Production Canada
Language English
Subtitle –
9 min, stereo, 16mm film/video, color/B&W, 2019
“Keabsenan dan proses penerjemahan memotivasi animasi eksperimental ini dalam eksplorasi metode dan bahan untuk reproduksi dan inskripsi. Sebuah fragmen dari esai Tentacular Thinking oleh Donna Haraway dimaknai ulang di sini sebagai sebuah manifesto yang puitis. Rekaman-rekaman yang ditemukan secara misterius mempertanyakan kekerasan manusia terhadap spesies hewan. Kehidupan tanaman adalah subjek dari citra-citra dalam filem ini sekaligus membantu reproduksi fotografisnya. Teknik yang juga digunakan adalah animasi di dalam kamera, cetak-kontak dan phytograms yang dibuat oleh teknik eksposur filem 16mm yang dilapisi dengan bahan tanaman dan dikeringkan selama berjam-jam di bawah sinar matahari langsung.” – F.D.
“Absences and translations motivate this experimental animation in an exploration of the methods and materials of reproduction and inscription. A fragment from Donna Haraway’s essay Tentacular Thinking is reworked here as a poetic manifesto. Enigmatic found-footage calls into question human violence over animal species. Plant life is both the subject matter of the images and assists the means of photographic reproduction. Techniques used include in-camera animation, contact-prints, and phytograms created by the exposure of 16mm film overlaid with plant material and dried for hours in direct sunlight.” – F.D.
Francisca Duran adalah seniman media eksperimental asal Kanada yang berbasis di Toronto, Kanada. Lahir di Santiago, Chili, Duran bermigrasi ke Kanada sebagai pengungsi pasca kudeta militer tahun 1973. Karya-karyanya telah dipresentasikan baik secara nasional maupun internasional, termasuk di HotDocs, DOK Leipzig, Images Festival, Ann Arbor Film Festival, ARKIPEL – Jakarta International Documentary & Experimental Film Festival, Rotterdam International Film Festival, John Hansard Gallery dan Gallery 44.
Francisca Duran is a Canadian experimental media artist based in Toronto, Canada. Born in Santiago, Chile, Duran came to Canada as a refugee following the 1973 military coup. Duran has exhibited nationally and internationally including in HotDocs, DOK Leipzig, the Images Festival, Ann Arbor Film Festival, ARKIPEL – Jakarta International Documentary & Experimental Film Festival, Rotterdam International Film Festival, the John Hansard Gallery and Gallery 44.
Video Home System
Filmmaker Sharlene Bamboat (Canada)
International Title Video Home System
Country of Production Canada
Language English and Urdu
Subtitle English
19 min, stereo, video, color/B&W, 2018
“Video Home System adalah karya yang menelusuri kembali pertemuan antara budaya populer dan gerakan politik di Pakistan pada periode 1980-an dan 1990-an. Video ini memaparkan hubungan antara budaya pop dan nasionalisme, serta bagaimana bisnis bajakan mampu membuat industri sinema tetap berjalan pada periode ketat sensor tersebut.” – S.B.
“Video Home System traces the convergence of popular culture and politics in Pakistan during the 1980s and 1990s. This video showcases connections between pop culture and nationalism and how bootleg economies kept the cinema industry alive during periods of censorship.” – S.B.
Sharlene Bamboat (lahir 1984, Pakistan) adalah seorang seniman video dan instalasi. Karyanya berkisar pada penelusuran sejarah yang absurd dan duniawi melalui estetika queer dan budaya populer. Karya-karyanya telah dipamerkan secara internasional termasuk di Sharjah Film Platform, Berlin Film Festival, Aga Khan Museum, London Film Festival (UK), Malmo Queer Film Festival dan Vasakh Film Festival. Selain praktik artistiknya, Sharlene juga adalah programer, anggota juri, dan anggota Dewan seni di Kanada. Dia saat ini adalah Direktur Pelaksana untuk Toronto Queer Film Festival. Ia tinggal dan bekerja di Toronto dan Montreal.
Sharlene Bamboat (b. 1984, Pakistan) is a video and installation artist. Her work is anchored in the absurd and mundane retracing of history through queer aesthetics and popular culture. Her works have exhibited internationally including: the Sharjah Film Platform, Berlin Film Festival, Aga Khan Museum, London Film Festival (UK), Malmo Queer Film Festival and Vasakh Film Festival. In addition to her artistic practice, Sharlene contributes regularly to the arts sector in Canada as a programmer, jury member and Board member. She is currently the Director of Operations for Toronto Queer Film Festival. Bamboat lives and works between Toronto and Montreal.
Better Than Awful (But Still Pretty Shitty)
Filmmaker Christine Negus (Canada)
International Title Better Than Awful (But Still Pretty Shitty)
Country of Production Canada
Language English
Subtitle –
2 min, stereo, video, color, 2016
“Filem ini mengajukan gagasan absurd dalam menghadapi trauma. Seiring narator mengajak dan mencoba menghibur dengan cara yang cetek, karya ini tanpa sengaja dan tanpa malu-malu juga menertawakan rasa luka dan duka.” – C.N.
“Better Than Awful (But Still Pretty Shitty) provides an absurd proposal to cope with trauma. As the narrator makes (futile) suggestions at superficial solace, the work inadvertently and unabashedly laughs in the face of pain and suffering.” – C.N.
Christine Negus is a multidisciplinary artist who received the NFB’s Best Emerging Canadian Video/Filmmaker award at the Images Festival in 2008. Negus obtained her MFA from Northwestern University in 2010 and her BFA from Western University in 2008. Some of her notable exhibitions include: the8fest, CROSSROADS, MIX NYC, Dunlop Gallery, Queer City Cinema, AKA artist-run, Artists’ Television Access, Milwaukee Underground Film Festival, Museum London, Media City Film Festival, Art Gallery of York University, Swedish Film Institute, and Kasseler Dokfest.
Christine Negus is a multidisciplinary artist who received the NFB’s Best Emerging Canadian Video/Filmmaker award at the Images Festival in 2008. Negus obtained her MFA from Northwestern University in 2010 and her BFA from Western University in 2008. Some of her notable exhibitions include: the8fest, CROSSROADS, MIX NYC, Dunlop Gallery, Queer City Cinema, AKA artist-run, Artists’ Television Access, Milwaukee Underground Film Festival, Museum London, Media City Film Festival, Art Gallery of York University, Swedish Film Institute, and Kasseler Dokfest.
About the Curator
Scott Miller Berry adalah seorang sutradara dan aktivis kebudayaan yang tinggal di Toronto. Ia adalah Managing Director di Worksman Arts, sebuah organisasi seni dan kesehatan mental yang menyelenggarakan Rendezvous With Madness Film Festival. Sebelumnya, ia menjabat sebagai Direktur di Images Festival dari tahun 2005 sampai 2015. Ia menerima Rita Davies Margo Bindhardt Award atas dedikasi kerja kebudayaan yang ia lakukan di Toronto dan ia pun menjabat sebagai Dewan Direksi Toronto Media Arts Center. Filem-filemnya kebanyakan dibuat pada medium film 16mm dan/atau Super 8 film. Biasanya ia mengangkat isu tentang kematian, duka, memori dan sejarah kolektif. Kadangkala semua hal tersebut ia olah secara manual.
Filemnya yang berjudul ars memorativa ditayangkan di seksi kompetisi di Oberhausen setelah penayangan perdananya di Experimenta India di Bangalore. Filem tersebut juga pernah ditayangkan di Jakarta, Ottawa, Lisboa, Montréal, Seoul, Wina, Regina dan di penayangan tunggal saat musim gugur 2015 bersama Colectivo Toronto.
re:assemblage collective berkomitmen untuk memperjuangkan suara dan perspektif yang kurang terwakili melalui pemutaran filem/video. Kami berkeliling dengan suatu niatan. Kami “menyusun kembali” asumsi-asumsi tentang praktik-praktik filem/video: siapa yang ditampilkan dan bentuk karya yang diperjuangkan. Kami terinspirasi oleh filem Trinh Minh-ha yang berjudul Reassemblage. re:assemblage collective berbasis di Toronto.
Diperoleh dari http://www.reassemblage.ca
Scott Miller Berry is a filmmaker and cultural worker who lives in Toronto. He is Managing Director at Workman Arts, an arts and mental health organization that presents the Rendezvous With Madness Film Festival. Previously, he was Director at the Images Festival from 2005-2015. Recipient of the Rita Davies Margo Bindhardt Award for cultural service in Toronto, he sits on the Board of Directors of Toronto Media Arts Centre. Most of his films are shot on 16mm and/or Super 8 film, and address themes of mortality, grief, memory and collective histories and sometimes are processed by hand.
His film ars memorativa screened in competition at the Oberhausen after debuting at Experimenta India in Bangalore. Recent screenings include Jakarta, Ottawa, Lisbon, Montréal, Seoul, Vienna, Regina and a fall 2015 solo screening with Colectivo Toronto.
re:assemblage collective is committed to championing underrepresented voices and perspectives through public film/video screenings. We are itinerant and intentional. We are “reassembling” assumptions about artist film/video practices: who is shown and the forms of works championed. We are inspired by Trinh Minh-ha’s film Reassemblage. The re:assemblage collective is based in Toronto.
Retrived from http://www.reassemblage.ca
