{"id":10128,"date":"2019-08-21T20:00:35","date_gmt":"2019-08-21T13:00:35","guid":{"rendered":"https:\/\/arkipel.org\/?p=10128"},"modified":"2019-09-03T20:43:30","modified_gmt":"2019-09-03T13:43:30","slug":"international-competition-02-performativity-in-films","status":"publish","type":"post","link":"https:\/\/arkipel.org\/international-competition-02-performativity-in-films\/","title":{"rendered":"International Competition 02: Performativity in Films"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Kompetisi Internasional 02: Performativitas dalam Filem” css=”.vc_custom_1566500720018{margin-bottom: 0px !important;}”]\n
Tanggal 21 Agustus 2019 pukul 14.00 \u2013 16.00 WIB di GoetheHaus, Goethe-Institut Jakarta, diadakan program penayangan filem Kompetisi Internasional 02 dalam perhelatan ARKIPEL <\/span>bromocorah<\/span><\/i> \u2013 <\/span>7<\/span><\/i>th<\/span><\/i> Jakarta International Documentary and Experimental Film Festival.<\/span><\/i>\u00a0 Program ini mengangkat judul kuratorial <\/span>Cermin yang Retak<\/span><\/i>. Afrian Purnama (Rian) selaku kurator program menekankan interpretasinya tentang perumpamaan seni dan cermin. Menurutnya, di satu sisi, kamera seakan bertindak sebagai cermin yang mereproduksi representasi tubuh, benda, serta gerak yang terkoneksi dengan persepsi pada realitas sehari-hari. Di sisi lainnya, filem mampu menghancurkan persepsi kita terhadap reproduksi kenyataan dan kemudian menghadirkan berbagai elemen berbeda terhadap apa yang dialami di luar keseharian. Peran filem dalam analogi yang ditawarkan oleh Rian adalah sebagai godam; filem merefleksikan kenyataan dan menghancurkannya pada waktu yang bersamaan, sebagaimana yang ia tuliskan dalam pengantar seleksi Kompetisi Internasional 02 di katalog ARKIPEL <\/span>bromocorah.<\/span><\/i><\/p>\n Di dalam ruang auditorium yang dihadiri lebih dari 20 orang itu, kurasi Rian menghadirkan empat filem dari sutradara yang berbeda. Filem pertama yang berjudul <\/span>Dulcinea<\/span><\/i> oleh sutradara Luca Ferri (Italia, 2018) memperlihatkan keseharian seorang perempuan dan laki-laki di rumah. Menariknya, kegiatan repetisi \u2018membersihkan\u2019 yang dilakukan laki-laki terlihat tidak wajar. Gerakan tubuh olehnya pun saya lihat cukup performatif dengan pilihan objek yang ia gunakan.<\/span><\/p>\n Sedangkan filem kedua yang berjudul <\/span>Chairs<\/span><\/i> oleh sutradara Avner Pinchover (Israel, 2018) merupakan video performans yang dilakukan di sebuah ruangan <\/span>white box<\/span><\/i>. Menggunakan objek kursi, Avner menghacurkan kemapanan <\/span>white box<\/span><\/i> yang menyerupai galeri. Menurut Hafiz, video performans ini bisa dikatakan absah sebagai filem.\u00a0 Di dalamnya terlihat sebuah perlawanan logika kenyataan, seperti objek bangku yang melawan logika gravitasi, serta terdapat pula bangunan drama.<\/span><\/p>\n Lalu filem ketiga ialah <\/span>The Love of Statues<\/span><\/i> oleh sutradara Peter Samson (Inggris, 2019). Peter juga menghadiri festival filem ARKIPEL dan berpartisipasi dalam diskusi singkat yang diadakan setelah pemutaran filem pada sesi Kompetisi Internasional 02 ini. Pada diskusi filem <\/span>The Love of Statues,<\/span><\/i> Peter menjelaskan filemnya yang terikat dengan konsepsi ruang dan waktu yang terkonstruksi dalam filemnya. Kemudian, Budi Irawanto dari Jogja-NETPAC Asian Film Festival (JAFF) menyatakan impresinya terhadap adegan kolam renang pada filem <\/span>The Love of Statues <\/span><\/i>yang memiliki unsur gerak. Lalu ia bertanya apakah Peter memiliki intensi tertentu kepada unsur gerak dalam karyanya. Peter menjelaskan bahwa ia memang memiliki intensi tersebut setelah ia mendapat <\/span>footage <\/span><\/i>adegan gimnasium. Jadi ada proses improvisasi di saat pengambilan gambar. Peter kemudian memutuskan untuk menggabungkan adegan-adegan tersebut di karyanya.<\/span><\/p>\n Pertanyaan selanjutnya datang dari Aryo Danusiri, seorang sutradara, yakni tentang bagaimana Peter membedakan medium analog dan digital. Menurut Peter, pertentangan antara analog dan digital dapat diumpamakan seperti matematika versus organik, dan baginya yang organik itu adalah matematika.<\/span><\/p>\n Saya pribadi menangkap impresi dari filem <\/span>The Love of Statues<\/span><\/i> terkait bagaimana gambar-gambar di dalamnya menghadirkan imajinasi tentang manusia yang serupa mesin, manusia bergerak otomatis, hingga manusia adalah mesin. Saat diskusi, saya pun bertanya seputar konsep musik yang sebelumnya diutarakan oleh Peter, terutama pada salah satu <\/span>shot<\/span><\/i> dalam adegan yang menunjukkan dua gambar bangunan yang berbeda yang digabungkan. Peter kemudian menjawab bahwa <\/span>shot<\/span><\/i> bangunan itu sudah ada di dalam filem pada sekuens sebelumnya serta bahwa pada beberapa adegan yang memiliki kandungan musik yang tidak berasal dari visual foto yang hadir bersamaan dengan musik tersebut. Peter mengungkapkan bahwa foto yang ia letakkan merupakan gambar bangunan di masa sebelum Perang Dunia I dan setelahnya. Ia menempatkan gambar itu sebagai pembabakan dalam filemnya.<\/span><\/p>\n Filem terakhir yang disuguhkan, <\/span>Absent Wound <\/span><\/i>karya Maryam Takafory (Iran-Inggris, 2017), memperlihatkan visual-visual praktik kebudayaan religi yang disandingkan dengan seorang perempuan di ruang lainnya. Konstruksi filem tersebut memperlihatkan upaya puitik dalam siklus bulanan perempuan.\u00a0<\/span><\/p>\n Setelah kuratorial Kompetisi Internasional 02 usai, saya bertanya kepada Rian selaku kurator mengenai benang merah yang ada di dalam keempat filem yang ia hadirkan di kuratorial tersebut. Menurutnya, unsur-unsur visual yang performatif menjadi benang yang menghubungkan keempat filem dalam kuratorial ini. <\/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=”International Competition 02: Performativity in Films” css=”.vc_custom_1566500833352{margin-bottom: 0px !important;}”]\n On August 21, 2019, 2.00 \u2013 4.00 PM at GoetheHaus, Goethe-Institut Jakarta, International Competition 02 screening program was held as part of ARKIPEL <\/span>bromocorah<\/span><\/i> \u2013 <\/span>7<\/span><\/i>th<\/span><\/i> Jakarta International Documentary and Experimental Film Festival.<\/span><\/i> The curatorial of this program is titled <\/span>The Mirror That Cracked.<\/span><\/i> Afrian Purnama (Rian) as the curator emphasized his interpretation on the metaphor of art and mirror. According to Rian, on one side, camera seems to act as a mirror producing representation of body, object, and motion connected to the perception of everyday reality. On the other side, film is capable to shatter our perception on the reproduction of reality and bring forth various elements on what we experience beyond everyday life. The role of film in the analogy presented by Rian is as a hammer; film reflects reality and shatters it at the same time, as Rian wrote in his curatorial text of International Competition 02.<\/span><\/p>\n In the auditorium attended by more than twenty people, the curated films consisted of four films. The first film titled <\/span>Dulcinea <\/span><\/i>by Luca Ferri (Italy, 2018) shows the everyday life of a woman and a man at home. Interestingly, the repetitive activity of ‘cleaning’ looks unnatural. The movement of the body and his choice of objects, in my opinion, are performative.<\/span><\/p>\n The second film, <\/span>Chairs <\/span><\/i>by Avner Pinchover (Israel, 2018) is a video performance, performed in a white box. By using chairs, Avner disrupts the established white box resembling a gallery. According to Hafiz, this video performance is valid as a film. It shows a resistance towards logic of reality, such as chairs resistant towards the logic of gravity, and there is also a dramatic construction.<\/span><\/p>\n The third film is <\/span>The Love of Statues <\/span><\/i>by Peter Samson (UK, 2019). Peter was also present in the discussion session after the screening and also the entire ARKIPEL Film Festival. In the discussion session of <\/span>The Love of Statues<\/span><\/i>, Peter explained that his film is bound to the conception of space and time constructed within the film. Then, Budi Irawanto from<\/span> Jogja-NETPAC Asian Film Festival (JAFF) stated his impression on the scene of swimming pool in the film that has an element of motion. And then he asked whether Peter had a certain intention to insert the element of motion in his film. Peter explained that he did have that intention when he got the footage of the gymnasium scene. Therefore, there was an improvisation in the filming process. Peter then decided to combine those scenes in his work.<\/span><\/p>\n Next question came from Aryo Danusiri, a director, on how Peter differentiates analog and digital medium. According to Peter, the contraposition of analog and digital is like math versus organic. For him, math is the organic one.<\/span><\/p>\n My personal impression on <\/span>The Love of Statues<\/span><\/i> is related to how the images bring forth the imagination of human who resembles machines, human moving automatically, up to human is the machine. On the discussion session, I asked on the musical concept that had previously been mentioned by Peter, especially on a shot in a scene that shows two different images of a building combined. Peter answered that the shot had been on the previous sequence on the film and that there are some scenes that have musical element not from the visual of the photo showing in parallel with the music. Peter explained that the photo is a picture of buildings in the era of pre and post-World War I. He put the image as a construction of his film.<\/span><\/p>\n The last film, <\/span>Absent Wound <\/span><\/i>by Maryam Takafory (Iran-UK, 2017), shows the visuals of religious cultural practices juxtaposed with the presence of a woman in another place. The construction of the film shows poetic attempts regarding a woman’s menstrual cycle.<\/span><\/p>\n After the screening, I asked Rian on the connection of the four films that he presented in this curatorial. According to his explanation, the connection is that those four films present performative visual elements.<\/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=”10135,10130,10129″ img_size=”large” onclick=””][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":" Film is capable to shatter our perception on the reproduction of reality and bring forth various elements on what we experience beyond everyday life. <\/p>\n","protected":false},"author":150,"featured_media":10329,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"International Competition 02: Performative Films","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[532,1,344],"tags":[526,528,192],"jetpack_publicize_connections":[],"yoast_head":"\n