{"id":10079,"date":"2019-08-20T21:00:11","date_gmt":"2019-08-20T14:00:11","guid":{"rendered":"https:\/\/arkipel.org\/?p=10079"},"modified":"2019-08-22T15:14:09","modified_gmt":"2019-08-22T08:14:09","slug":"art-experimentation-and-performance","status":"publish","type":"post","link":"https:\/\/arkipel.org\/art-experimentation-and-performance\/","title":{"rendered":"Art Experimentation and Performance"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Eksperimentasi Seni dan Performativitas” css=”.vc_custom_1566370443189{margin-bottom: 0px !important;}”]\n
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Hari kedua tanggal 20 Agustus 2019 Forum Festival dalam rangkaian acara ARKIPEL <\/span>bromocorah<\/span><\/i>, panel 4 dengan tajuk \u201cEksperimentasi Seni dan Performativitas\u201d<\/span> dilaksanakan pada pukul 09.30 AM \u2013 11.05 AM. Akbar Yumni selaku moderator membuka perbincangan panel dengan sedikit deskripsi tentang masing-masing narasumber yang akan memaparkan presentasi di panel ini.\u00a0\u00a0<\/span><\/p>\n

Tonny Trimarsanto memulai presentasinya dengan cerita masa kecil dirinya di Klaten yang merupakan sebuah kabupaten di Jawa Tengah yang mempunyai bioskop dalam jumlah tak sedikit. Bersama ayahnya, pada tahun 1970-an, ia sering menonton filem dengan genre komedi. Selain itu, sejak remaja Tonny gemar mengonsumsi filem-filem India. Untuk membuat sebuah karya seni, Tonny menekankan beberapa aspek penting, antara lain: akses terhadap sinema yang ia terima sejak dini, trauma (stigma\/label) personal, serta modal sosial dan pengetahuan. Ketika meramu aspek-aspek tersebut, Tonny menyertakan pula kurasi pilihan-pilihan peristiwa yang penting untuk direspon menjadi sebuah karya. Pertimbangan pilihan itu terjadi saat berhadapan dengan kendala akses serta kedalamannya. Ia memfokuskan karyanya pada filem dokumenter karena ia menganggap spontanitas yang ada di dalam filem dokumenter memberikan efek kejutan yang tidak bisa diduga atau diterka.\u00a0<\/span><\/p>\n

Pembicara kedua \u2013 Irwan Ahmett \u2013 menceritakan proses karya seninya mengenai daerah perbatasan sebagai konstelasi geopolitik. Ia memperlihatkan gambar peta Selat Malaka pada tahun 1984 dan 2018 lalu membandingkan berbagai perbedaannya menggunakan tawaran yang spekulatif. Jika menurut negara, daerah perbatasan memiliki kecenderungan terjadi tindakan ilegal, Irwan justru berpikir lain. Ia sendiri menawarkan konsep bromocorah yang digunakan untuk \u2018mengakali\u2019 sistem lewat contoh kasus di Utara Jakarta; bahwa narasi agama digunakan untuk mempertahankan wilayah padahal pada kenyataannya itu adalah narasi ekonomi. Lalu ia membahas tentang kebrutalan formal melalui faktor-faktor seperti kegagalan sistem ekonomi, bencana ekologi, anti-intelektualisme, dan spekulasi. Moderator menyimpulkan kemudian bahwa bromocorah pada presentasi Irwan Ahmett berada di seputar batas-batas ideologi.\u00a0<\/span><\/p>\n

Lalu pembicara ketiga \u2013 Jasmine Nadua Trice \u2013 berfokus pada eksperimentasi dalam bentuk kesejarahan, khususnya kaitannya dengan aspek estetika dan representasi. Ia menggunakan tiga buah filem pendek yaitu <\/span>Jai<\/span><\/i> karya Anocha Suwichakornpong, <\/span>Shotgun Tuding<\/span><\/i> karya Shireen Seno dan <\/span>Eleven Men<\/span><\/i> karya Nguyen Trinh Thi. Menurut Jasmine, ketiga filem tersebut menghadirkan taktik-taktik untuk mengganggu representasi sejarah yang mapan.<\/span><\/p>\n

Pada panel ini, Hafiz mengajukan pertanyaan tentang ukuran eksperimentasi seni yang dapat membingkai isu-isu dalam karya masing-masing panelis, baik dalam konteks seni, filem maupun studi terhadap filem. Jasmine menjawab bahwa cara pembuatan filem menggunakan arsip seperti yang terjadi pada filem <\/span>Eleven Men<\/span><\/i> yang menghadirkan sosok ikonik adalah contoh bagaimana representasi sejarah diganggu. Tonny merespon pertanyaan ini dengan mengatakan bahwa ketidakberjarakannya dengan kamera dan isu yang diangkat menjadi salah satu aspek penting dalam proses berkaryanya. Sedangkan Irwan menjawab bahwa ia berusaha tidak terjebak pada konvensi seni arus utama sehingga ia pun mengingini tantangan atas seni sebagai medium ekspresi.<\/span><\/p>\n<\/div>\n<\/div>\n[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”Art Experimentation and Performance” css=”.vc_custom_1566370429938{margin-bottom: 0px !important;}”]\n

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The second day, August 20, 2019, of Forum Festival in a series of ARKIPEL <\/span>bromocorah<\/span><\/i> events, panel 4 with the headline “Experimentation of Art and Performance” was held at 09:30 AM – 11.05 AM. Akbar Yumni, as the moderator, opened the panel discussion with a short description of each panelist delivering presentations in the panel.<\/span><\/p>\n

Tonny Trimarsanto began his presentation with a story of his childhood in Klaten, a district in Central Java that has plenty of cinemas. Along with his father, in the 1970s, he often watched comedy films. Also, Tonny said that he likes to watch Indian films since his teenage. To create a work of art, Tonny emphasized several important aspects, including access to cinema he received early on, personal trauma (stigma\/label), as well as social capital and knowledge. When concocting these aspects, Tonny also included the process of selecting the events that he considered essential to be responded into a work. These choice considerations occur when dealing with access constraints and their depth. He focuses his practice on documentary films because he considers the spontaneity that exists in documentary films gives a surprising, unpredictable effect.<\/span><\/p>\n

The second speaker \u2013 Irwan Ahmett \u2013 told his artwork process on border area as a geopolitical constellation. He showed the map of Malacca Strait on 1984 and 2018 and compared the difference with speculative offers. If according to the state, the border area tends to be used for illegal activities, Irwan has a different thought. He offered the concept of bromocorah used to ‘outsmart’ the system with a sample case of North Jakarta; that the religious narrative is utilized to take hold of the area whereas in reality, it is actually an economic narrative. He then explained about formal brutality through factors such as the failure of the economic system, ecological disaster, anti-intellectualism, and speculation. Moderator then concluded that bromocorah in Irwan Ahmett’s presentation exists in around ideological boundaries.<\/span><\/p>\n

The third speaker \u2013 Jasmine Nadua Trice \u2013 focused on experimentation in the form of history, especially concerning the aspect of aesthetic and representation. She used three short films: <\/span>Jai <\/span><\/i>by Anocha Suwichakornpong, <\/span>Shotgun Tuding<\/span><\/i> by Shireen Seno dan <\/span>Eleven Men<\/span><\/i> by Nguyen Trinh Thi. According to Jasmine, these three films present tactics to disrupt the established historical representation.<\/span><\/p>\n

On this panel, Hafiz asked a question about the extent of art experimentation able to frame issues in the works of each panelist, whether in the context of art, film, and film study. Jasmine answered the question by stating that filmmaking by using the archive, as shown in <\/span>Eleven Men<\/span><\/i> presenting iconic figure is an example of how historical representation is disrupted. Tonny responded that his closeness with his camera and the issue are one of the crucial aspects of his working process. Irwan said that he tried not to get caught up in the convention of mainstream art so he wants to keep challenging the art as a medium of expression.<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”10080,10081,10082,10083,10084,10085,10086,10087,10088,10089″ img_size=”large” onclick=””][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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Silalahi","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/9d6fab4cf9f3b671d2ae319c6ab3bfe5?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/9d6fab4cf9f3b671d2ae319c6ab3bfe5?s=96&d=mm&r=g","caption":"Maria C. Silalahi"},"description":"Maria C. Silalahi (lahir di Jakarta, 31 Mei 1993) lulus dari Departemen Kriminologi, Universitas Indonesia pada tahun 2018. Sejak saat itu ia belajar praktik eksperimentasi visual di Milisifilem Collective. Saat ini dia adalah salah satu pengurus Forum Lenteng untuk program AKUMASSA. - Maria C. Silalahi\u00a0 (b. Jakarta, 31 May 1993) graduated from Criminology, University of Indonesia in 2018. She studies the experimental visual at Milisifilem Collective since then. She is now one of members of Forum Lenteng, in charge of AKUMASSA program. \u2022","url":"https:\/\/arkipel.org\/people\/mariacsilalahi\/"}]}},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/bromocorah_panel-4_3.jpg?fit=1080%2C720&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-2Cz","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/10079","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/users\/150"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=10079"}],"version-history":[{"count":0,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/10079\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media\/10082"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=10079"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=10079"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=10079"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}