{"id":11909,"date":"2023-08-29T20:04:53","date_gmt":"2023-08-29T13:04:53","guid":{"rendered":"https:\/\/arkipel.org\/?page_id=11909"},"modified":"2023-09-12T19:14:42","modified_gmt":"2023-09-12T12:14:42","slug":"2023-submissions-result-2-2","status":"publish","type":"page","link":"https:\/\/arkipel.org\/2023-submissions-result-2-2\/","title":{"rendered":"ARKIPEL 2023: Noli Me Tangere"},"content":{"rendered":"[vc_row fullwidth=”true”][vc_column][rev_slider_vc alias=”2023-nmt-banner”][\/vc_column][\/vc_row][vc_row fullwidth=”true” fullwidth_content=”false”][vc_column][vc_tta_accordion style=”flat” shape=”square” color=”black” active_section=”1″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Pengantar\/Forewords” tab_id=”1692611761009-ba58924a-fc49″][vc_column_text css=”.vc_custom_1693309856862{margin-bottom: 0px !important;}”]\n

Otty Widasari<\/strong>
\n<\/span><\/span>Kepala Selektor\/Head of Selectors<\/em><\/p>\n[\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/2″][vc_custom_heading text=”Kompetisi Internasional ARKIPEL Noli Me Tangere:
\n33 Film Terpilih” font_container=”tag:h4|text_align:center|color:%231e73be” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_column_text css=”.vc_custom_1689746420406{margin-bottom: 0px !important;}”]Kenyataan keseharian dunia modern menampakkan tanda-tanda kecemasannya. Setidaknya kalau ia tidak kunjung pernah bisa menetapkan diri sekuat tradisi. Sementara sebaliknya, sistem tradisional jadi tampak menawarkan penyelesaian menarik karena kekokohan akarnya sebagai tradisi. Kecemasan yang paling jelas adalah saat dunia secara cepat bermigrasi ke dalam ruang simulasi algoritmis, namun kehidupan masih memijak pada tanah di mana jejak-jejak rezim dari masa lalu tidak pernah bisa terhapus. Langkah masyarakat dunia terdorong kuat oleh arus modernisme yang digerakkan oleh sistem mesin yang bekerja secara selangkah demi selangkah, dan makin cepat.\u00a0 Sistem tersebut menafsirkan persoalan logika deduktif dalam kehidupan. Pada kenyataannya, kerja mesin tersebut jauh lebih cepat daripada usaha manusia dalam penyelesaian luka di masa lalu. \u2018Si mesin\u2019, belajar dengan cepat untuk mengklasifikasi kategori-kategori representasi dari \u201capa yang ada\u201d, membaca dan menalar pola bahasa manusia, hingga penerimaan sensori manusia, lalu mendemonstrasikan kecerdasan sosial, hingga kecerdasan umum yang dimiliki manusia.<\/span><\/p>\n

Di samping itu, para pembuat film yang masih sangat percaya pada kerja mesin montase konvensional, bersikukuh untuk berbagi lihatan tentang apa yang menurut mereka perlu dilihat. Mereka melakukan semua proses kerja yang berpusat pada dirinya sebagai manusia: melihat fenomena \u201capa yang ada\u201d dan \u201capa yang terjadi\u201d di dunia, memahami pola peristiwa-peristiwa, menalar probabilitas, dan mendemonstrasikannya sebagai sinema. Hubungan antara kinerja manusia dan mesin montase konvensional ini cukup bertahan lama sebagai sebuah tradisi, tradisi sinema, karena karakter humanisnya, demikian setidaknya, film-film tahun ini berbicara.<\/span><\/p>\n

Hamparan film-film dalam program Kompetisi Internasional bertema Noli me Tangere<\/em> dalam Arkipel-Jakarta International Documentary and Experimental Film Festival 2023<\/strong> ini menunjukkan kecemasan-kecemasan akan perang, jejak-jejak perang dingin yang masih tersisa, kegoyahan modernitas, friksi manusia dan mesin, bahkan kolonialisme yang masih menghantu. Sejak edisi pertamanya\u00a0 pada 2013, kemunculan isu yang paling kerap hadir dalam pembacaan Arkipel akan fenomena isu global adalah gelombang migrasi yang dipicu oleh The Arab Spring<\/em>. Pembicaraan tentang hal itu terbentang selama 10 edisi Arkipel: potret jurnalistik migrasi penduduk ke kawasan lain, kehidupan para imigran dengan konflik-konflik lanjutan di lokasi baru, dan, khususnya sejak dua edisi terakhir Arkipel, bermunculan film-film yang dibuat oleh para imigran itu sendiri tentang kehidupan di lokasi baru mereka. Pada akhirnya masyarakat (penonton film) bisa terbagikan lihatan tentang dunia melalui kacamata yang sangat berbeda, berdasarkan latar sosial politik yang terpaksa melingkupinya.<\/span><\/p>\n

Hal yang paling menarik dari menyeleksi ribuan film dalam sebuah festival film internasional adalah, seperti sedang menyaksikan bagaimana kehidupan di dunia berlangsung dari tahun ke tahun, selama satu dekade Arkipel, melalui pernyataan-pernyataan subjektif para pembuat film dari berbagai benua. Sedangkan hal yang paling penting dari itu semua adalah, kesaksian artistik dari perguliran isu global tersebut, yang berkembang ke dalam bentuknya yang terkini.<\/span><\/p>\n

Namun, ada perihal yang menggugah pula dalam menyeleksi dan menguratori sebuah tema festival film di abad ke-21 ini: mengategori, membaca, dan menalar kinerja mesin montase konvensional dengan kecerdasan manusia, yang sedang dinalar oleh kecerdasan yang terkomputasi oleh mesin. Kesamaan antara kedua karakater tindakan tersebut ada pada penggunaan konvensi umum dalam menalar probabilitas. Artinya, itu bukan sebuah perbandingan, karena kerja kultural manusia, sebagaimana merayakan sinema, bukanlah sebuah simulasi. Kita bukan sedang melempar pertanyaan semacam apakah mesin bisa cerdas, melainkan sedang berdiskusi secara manusiawi.<\/span><\/p>\n

Kala Jose Rizal melempar bukunya, Noli me Tangere <\/em>(jangan sentuh aku), pada 1887 kepada publik di dalam dan di luar Filipina, ia sedang mengarikaturkan kolonialisme Spanyol di tanah airnya. Jose Rizal yang juga dokter mata, konon, menggunakan frasa noli me tangere<\/em> yang kerap digunakan dalam istilah kedokteran sebagai kanker yang tersembunyi, sebagai kritik tidak hanya terhadap bangsa Spanyol yang menjajah Filipina, tapi juga pada kebutaan rakyat terhadap kekuasaan, kanker sosial yang tak tersentuh. Kanker yang kita rasakan semakin memburuk kini.<\/span><\/p>\n

Sementara waktu kehidupan masih memijak pada tanah di mana jejak-jejak rezim dari masa lalu tidak pernah bisa terhapus, sebuah ruang yang terkategorikan untuk memberi feedback<\/em> tak instan dan meruah, menjadi ruang diskusi yang sadar akan bias algoritmik yang masih tidak adil dan membuat perjalanan sang kafilah sebagai pelancongan cacat.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_custom_heading text=”ARKIPEL Noli Me Tangere International Competition: 33 Films Selected” font_container=”tag:h4|text_align:center|color:%23dd3333″ google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_column_text css=”.vc_custom_1689746398155{margin-bottom: 0px !important;}”]The everyday realities of the modern world show signs of restlessness. At least when it can never establish itself as strongly as tradition. On the other hand, traditional systems seem to offer attractive solutions because of the solidity of their roots as a tradition. The most obvious restlessness is when the world is rapidly migrating into the space of algorithmic simulation, yet life still rests on the ground where the traces of past regimes can never be erased. The pace of world society is strongly motivated by the current of modernism driven by a machine system that works step by step, and faster and faster. This system interprets deductive logical problems in life. In fact, the work of this machine is much faster than human efforts to resolve the wounds of the past. ‘The Machine’, learns quickly to classify categories of representations of “what exist”, to read and to reason human language patterns, to human sensory reception, then demonstrates social intelligence, to general intelligence that humans possess.<\/span><\/p>\n

On the other hand, filmmakers who still strongly believe in a conventional montage machine work, insist on sharing the sight of what they think needs to be seen. They do all the work processes centered on themselves as humans: seeing the phenomena of “what exist” and “what happens” in the world, understanding the patterns of events, reasoning probabilities, and demonstrating them as cinema. This relationship between human and conventional montage machines performances is quite enduring as a tradition, a cinema tradition, because of its humanist character, so at least, this year’s films speak.<\/span><\/p>\n

The expanse of films under the International Competition program themed Noli me Tangere<\/em> in the Arkipel-Jakarta International Documentary and Experimental Film Festival 2023 <\/strong>shows the anxieties of war, the lingering traces of the cold war, the unsteadiness of modernity, the friction between man and machine, and even colonialism that still haunts. Since its first edition in 2013, the most recurrent issue in Arkipel’s reading of global phenomena has been the wave of migration triggered by The Arab Spring. The conversation about it spans 10 editions of Arkipel: journalistic portraits of population migration to other regions, the lives of immigrants with subsequent conflicts in new locations, and, especially since the last two editions of Arkipel, films made by immigrants themselves about life in their new locations have emerged. Eventually, the public (movie-goers) can have a very different view of the world, based on the socio-political setting in which they are forced to live.<\/span><\/p>\n

The most interesting thing about selecting thousands of films for an international film festival is that it is like witnessing how life in the world unfolds year after year, over the course of a decade of Arkipel, through the subjective statements of filmmakers from different continents. The most important thing of all, however, is the artistic evident of these global issues evolving into their current form.<\/span><\/p>\n

However, there is also something intriguing in selecting and curating a film festival theme in the 21st century: categorizing, reading, and reasoning the performance of conventional montage machines with human intelligence, which is being reasoned by machine-computed intelligence. The similarity between the two characters of action is in the use of common conventions in reasoning probabilities. That is, it is not a comparison, because human cultural work, like celebrating cinema, is not a simulation. We are not asking questions such as whether machines can be intelligent, but rather having a human discussion.<\/span><\/p>\n

When Jose Rizal released his book, Noli me Tangere<\/em> (touch me not), in 1887 to the public in and outside the Philippines, he was caricaturing Spanish colonialism in his homeland. Jose Rizal, who was also an ophthalmologist, is said to have used the phrase noli me tangere<\/em>, which is often used in medical terms as a hidden cancer, as a critique not only of the Spaniards who colonized the Philippines, but also of the people’s blindness to power, an untouchable social cancer. A cancer that we feel is worsening now.<\/span><\/p>\n

While the time of life still stands on the ground where the traces of the regime from the past can never be erased, a categorized space to give feedback that is not instant and abundant becomes a discussion space that is aware of the algorithmic bias that is still unfair and makes the wayfarer\u2019s journey a flawed one.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”International Competition” tab_id=”1692611761033-a68d0ac7-6331″][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Aqueronte” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11855″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=””][vc_column_text css=”.vc_custom_1689073491086{margin-bottom: 0px !important;}”]Manuel Mu\u00f1oz Rivas<\/strong>
\nSpain
\n2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”An Asian Ghost Story” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11856″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”\u4e5d\u9f8d\u6771\u5f80\u4e8b” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689740520366{margin-bottom: 0px !important;}”]Bo Wang<\/strong>
\nNetherlands, Hong Kong
\n2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Algorithms of Beauty” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11857″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689740724323{margin-bottom: 0px !important;}”]Mil\u00e9na Trivier<\/strong>
\nBelgium
\n2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Beigu Islet” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11858″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689741066054{margin-bottom: 0px !important;}”]Hsin-Yu Chen<\/strong>
\nTaiwan
\n2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Broken View” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11859″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689613624487{margin-bottom: 0px !important;}”]Hannes Verhoustraete<\/strong>
\nBelgium
\n2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Cherries” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11860″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”Uogos” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689741560504{margin-bottom: 0px !important;}”]Vytautas Katkus<\/strong>
\nLithuania
\n2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”A Companion for Amateur Cinematographers: Vol. I” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11861″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”Manuale di cinematografia per dilettanti \u2013 Vol. I” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689613447332{margin-bottom: 0px !important;}”]Federico Di Corato<\/strong>
\nItaly
\n2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Death of an Extra” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11862″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689616135175{margin-bottom: 0px !important;}”]Mikhail Zheleznikov<\/strong>
\nIsrael
\n2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Density of Emptiness” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11863″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689741272353{margin-bottom: 0px !important;}”]Shirin Barghnavard<\/strong>
\nGermany, France, Iran
\n2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Esrever” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11864″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689616232196{margin-bottom: 0px !important;}”]Hee Sue Kwon<\/strong>
\nRelublic of Korea
\n2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Fatima” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11866″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689613181372{margin-bottom: 0px !important;}”]Sourabh Kanti Dutta<\/strong>
\nIndia, UK
\n2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Ghost Light” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11868″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689741951875{margin-bottom: 0px !important;}”]Timoteus Anggawan Kusno
\n<\/strong>Indonesia
\n2021[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Horror Vacui” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11894″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689741863650{margin-bottom: 0px !important;}”]Boris Poljak<\/strong>
\nCroatia
\n2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Imaginary Futures: Tourism” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11896″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689740729129{margin-bottom: 0px !important;}”]Darko Fritz<\/strong>
\nCroatian
\n2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Ingresso animali vivi” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11873″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689615571741{margin-bottom: 0px !important;}”]Igor Grubic<\/strong>
\nCroatia
\n2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Jaime’s House” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11874″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689741123970{margin-bottom: 0px !important;}”]Marie Gavois\/ Michel Kl\u00f6fkorn<\/strong>
\nGermany, Spain
\n2021[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Kim\u2019s Video” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11875″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689616275261{margin-bottom: 0px !important;}”]David Redmon, Ashley Sabin<\/strong>
\nUSA
\n2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Maltournee” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11876″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689616036298{margin-bottom: 0px !important;}”]Pooya Abassian<\/strong>
\nGermany, France, Iran
\n2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Mangosteen” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11879″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_column_text css=”.vc_custom_1689741707898{margin-bottom: 0px !important;}”]Tulapop Saenjaroen<\/strong>
\nThailand
\n2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Manta Ray” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11878″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”Raie Manta” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689741645081{margin-bottom: 0px !important;}”]Anton Bialas<\/strong>
\nFrance
\n2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Otro Sol” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11882″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689615441806{margin-bottom: 0px !important;}”]Francisco Rodriguez Teare<\/strong>
\nChile, France, Belgium
\n2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Old Fashion, New Life” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11881″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”\u5973\u5fb7” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689612963909{margin-bottom: 0px !important;}”]Lam Can-zhao<\/strong>
\nChina
\n2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Periphery of the Wind” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11883″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689613305572{margin-bottom: 0px !important;}”]Reza Kutjh<\/strong>
\nIndonesia
\n2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”The Porters” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11884″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689613375116{margin-bottom: 0px !important;}”]Sarah Vanagt<\/strong>
\nBelgium
\n2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”R21 aka Restoring Solidarity” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11885″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689742124663{margin-bottom: 0px !important;}”]Mohanad Yaqubi
\n<\/strong>Belgium, Qatar
\n2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Ritual, Part IV: The Blends” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11886″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”Ritual, Belahan IV: Bauran” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689615254067{margin-bottom: 0px !important;}”]Robby Ocktavian<\/strong>
\nIndonesia
\n2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”The Secret Garden” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11887″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”\u0627\u0644\u062d\u062f\u064a\u0642\u0629 \u0627\u0644\u0633\u0631\u064a\u0651\u0629” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689613093870{margin-bottom: 0px !important;}”]Nour Ouayda<\/strong>
\nLebanon
\n2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Shokouk” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11889″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689740595694{margin-bottom: 0px !important;}”]Rouzbeh Akhbari and Felix Kalmenson<\/strong>
\nUzbekistan, Canada
\n2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Taxibol” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11890″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689740463117{margin-bottom: 0px !important;}”]Tommaso Santambrogio<\/strong>
\nCuba
\n2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Will You Look At Me” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11892″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”Dang wo wang xiang ni de shi hou” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689741426193{margin-bottom: 0px !important;}”]Shuli Huang<\/strong>
\nChina
\n2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”3\/5″][\/vc_column_inner][vc_column_inner width=”2\/5″][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”Candrawala” tab_id=”1692611809813-f743fd69-a2e7″][vc_column_text css=”.vc_custom_1693560180082{margin-bottom: 0px !important;}”]Kurator<\/strong> Dini Adanurani<\/p>\n

Dalam beberapa tahun terakhir, lanskap dan lokasi menjadi tema dominan dalam filem-filem yang terpilih dalam program Candrawala. Dalam filem-filem pilihan Candrawala tahun ini, lanskap dan lokasi dibayangkan menjadi sesuatu yang lebih strategis, melekat dalam grid atau kisi-kisi yang terus bertumbuh, dan dapat dibaca sebagai peta terbesar yang pernah ada.<\/p>\n

Kisi-kisi mengandaikan adanya posisi, komposisi, kemungkinan untuk bergerak, jarak, dan durasi yang bisa dihitung secara kuantitatif. Makin teranglah di tanah mana kita berpijak, ke mana angin berhembus, dan kepada siapa keberuntungan berpihak di antara garis-garis yang saling berpotongan dan terus merangkai dirinya.<\/p>\n

Beberapa filem dalam Candrawala tahun ini berupaya mengenal kembali dan mengurai kompleksitas lanskap alam dan sosial di sekitar para seniman; meletakkan wilayah mereka dalam kisi-kisi peta peristiwa sosiopolitik terkini melalui tangkapan-tangkapan citra. Beberapa filem secara spesifik meletakkan lanskap mereka dalam eksperimen kisi-kisi yang terkait dengan hakikat sinema dan kerja-kerja media\u2014antara gambar diam dan gambar bergerak, hingga proses saling menerjemahkan yang ulang-alik.[\/vc_column_text][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Ininnawa: An Island Calling” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11921″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1693314197209{margin-bottom: 0px !important;}”]Arfan Sabran
\n<\/strong>Indonesia
\n2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Ghost Light” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11868″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689741951875{margin-bottom: 0px !important;}”]Timoteus Anggawan Kusno
\n<\/strong>Indonesia
\n2021[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Periphery of the Wind” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11883″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689613305572{margin-bottom: 0px !important;}”]Reza Kutjh<\/strong>
\nIndonesia
\n2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”3\/5″][vc_custom_heading text=”Ritual, Part IV: The Blends” font_container=”tag:h2|font_size:32|text_align:left” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_single_image image=”11886″ img_size=”medium”][\/vc_column_inner][vc_column_inner width=”2\/5″][vc_custom_heading text=”Ritual, Belahan IV: Bauran” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:400%20regular%3A400%3Anormal”][vc_column_text css=”.vc_custom_1689615254067{margin-bottom: 0px !important;}”]Robby Ocktavian<\/strong>
\nIndonesia
\n2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_accordion][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=”100px”][vc_separator color=”black” el_width=”60″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11898″ img_size=”large” alignment=”center” css_animation=”slideInDown”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11791″ img_size=”large” alignment=”center” css_animation=”slideInDown”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

[vc_row fullwidth=”true”][vc_column][rev_slider_vc alias=”2023-nmt-banner”][\/vc_column][\/vc_row][vc_row fullwidth=”true” fullwidth_content=”false”][vc_column][vc_tta_accordion style=”flat” shape=”square” color=”black” active_section=”1″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Pengantar\/Forewords” tab_id=”1692611761009-ba58924a-fc49″][vc_column_text css=”.vc_custom_1693309856862{margin-bottom: 0px !important;}”] Otty Widasari Kepala Selektor\/Head of Selectors [\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/2″][vc_custom_heading text=”Kompetisi Internasional ARKIPEL Noli Me Tangere: 33 Film Terpilih” font_container=”tag:h4|text_align:center|color:%231e73be” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_column_text css=”.vc_custom_1689746420406{margin-bottom: 0px !important;}”]Kenyataan keseharian dunia modern menampakkan tanda-tanda kecemasannya. Setidaknya kalau ia tidak kunjung pernah bisa menetapkan diri sekuat tradisi. […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"yoast_head":"\nARKIPEL 2023: Noli Me Tangere — ARKIPEL<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arkipel.org\/2023-submissions-result-2-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"ARKIPEL 2023: Noli Me Tangere — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"[vc_row fullwidth=”true”][vc_column][rev_slider_vc alias=”2023-nmt-banner”][\/vc_column][\/vc_row][vc_row fullwidth=”true” fullwidth_content=”false”][vc_column][vc_tta_accordion style=”flat” shape=”square” color=”black” active_section=”1″ no_fill=”true” collapsible_all=”true”][vc_tta_section title=”Pengantar\/Forewords” tab_id=”1692611761009-ba58924a-fc49″][vc_column_text css=”.vc_custom_1693309856862{margin-bottom: 0px !important;}”] Otty Widasari Kepala Selektor\/Head of Selectors [\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/2″][vc_custom_heading text=”Kompetisi Internasional ARKIPEL Noli Me Tangere: 33 Film Terpilih” font_container=”tag:h4|text_align:center|color:%231e73be” google_fonts=”font_family:Montserrat%3Aregular%2C700|font_style:700%20bold%20regular%3A700%3Anormal”][vc_column_text css=”.vc_custom_1689746420406{margin-bottom: 0px !important;}”]Kenyataan keseharian dunia modern menampakkan tanda-tanda kecemasannya. Setidaknya kalau ia tidak kunjung pernah bisa menetapkan diri sekuat tradisi. 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