{"id":10144,"date":"2019-08-22T22:00:56","date_gmt":"2019-08-22T15:00:56","guid":{"rendered":"https:\/\/arkipel.org\/?p=10144"},"modified":"2019-08-23T23:15:55","modified_gmt":"2019-08-23T16:15:55","slug":"building-a-home-out-of-space","status":"publish","type":"post","link":"https:\/\/arkipel.org\/building-a-home-out-of-space\/","title":{"rendered":"Building a Home Out of Space"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Membangun Rumah dari Ruang” css=”.vc_custom_1566576376939{margin-bottom: 0px !important;}”]\n
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Jakarta – Pada hari Kamis (22\/8) pukul 7:00 malam di GoetheHaus, Goethe-Institut Jakarta, telah dilaksanakan pemutaran Kompetisi Internasional 06 dari ARKIPEL <\/span>bromocorah \u2013 7<\/span><\/i>th<\/span><\/i> Jakarta International Documentary and Experimental Film Festival<\/span><\/i> yang berjudul <\/span>Memori Spasial dalam Tubuh Mekanis<\/span><\/i>. Dikurasi oleh Syaiful \u201cPaul\u201d Anwar, dua filem yang ditayangkan pada malam ini berjudul: <\/span>Lumapit Sa Akin, Paraiso <\/span><\/i>atau <\/span>Come to Me, Paradise<\/span><\/i> disutradarai oleh Stephanie Comilang dari Kanada, dan <\/span>Yub Menh Bong Keunh Oun Nho Nhim<\/span><\/i> atau <\/span>Last Night I Saw You Smiling<\/span><\/i> disutradarai oleh Kavich Naeng dari Kamboja.\u00a0<\/span><\/p>\n

Pemutaran terakhir untuk hari ini didatangi oleh 27 penonton, termasuk Stephanie Comilang. Setelah gong ketiga dibunyikan dan penonton sudah nyaman dengan tempat duduk masing-masing, <\/span>Paul maju ke depan untuk memberi beberapa sambutan dan penjelasan mengenai kuratorialnya. <\/span>Di sampingnya ada Valencia Winata yang membantu sebagai penerjemah. Paul menjelaskan kuratorialnya tentang bagaimana ia melihat tubuh, ruang, dan bentuk serta relasi sosial.\u00a0<\/span><\/p>\n

Come to Me, Paradise<\/span><\/i> diawali oleh pemandangan gunung dan suara feminim. Gambar itu lalu berubah menjadi pemandangan kota metropolitan. Diketahui kemudian bahwa kota ini adalah Hong Kong. Pengambilan kedua gambar dilakukan dari <\/span>high angle<\/span><\/i> dan diiringi dengan narasi sosok yang tak terlihat, kesannya seperti dari sudut pandang sosok yang hadir di mana-mana yang melihat dan mengetahui semua. Selama filem ini, kamera bergantian dari sosok yang hadir di mana-mana itu dan dari telepon genggam seorang perempuan pekerja domestik. Pergantian ini memberikan kesan observasional sekaligus personal. Penonton bisa melihat tokoh-tokoh dari jarak tertentu, seolah sedang \u201cmengawasi\u201d mereka, dan melihat secara lebih dekat keadaan mereka.\u00a0<\/span><\/p>\n

Menonton <\/span>Come to Me, Paradise<\/span><\/i> memberikan perasaan yang sedih tetapi penuh harapan. Para pekerja ini telah mengambil ruang di publik untuk dijadikan sebagai ruang pribadi mereka yang memungkinkan mereka bisa berkumpul bersama dan bersantai-santai. Paul juga mengakui bahwa filem ini sangat optimis dan berbeda dengan ekspektasi terhadap tenaga kerja pada umumnya. Panji Anggira, seorang mahasiswa filem, senang melihat persahabatan antara tokoh.<\/span><\/p>\n

Setelah kredit selesai, penonton ramai bertepuk tangan. Filem pertama disambut secara positif. Tidak lama kemudian filem kedua dimulai.\u00a0<\/span><\/p>\n

Dibanding filem sebelumnya, <\/span>Last Night I Saw You Smiling<\/span><\/i> adalah filem yang cukup pesimis. Filem ini menceritakan tentang rumah susun yang telah dibeli oleh perusahaan luar dan para penghuni harus digusur. Kavich, sang pembuat filem, memperlihatkan keadaan rumah susun, dari penuh kehidupan hingga dihancurkan. Selama filem, kamera cenderung diam dan bersikap observasional. Tetapi ada beberapa adegan yang memperlihatkan interaksi langsung si subjek dan sosok di belakang kamera. Interaksi itu mengungkapkan bahwa rupanya dari sekian banyak subjek, dua di antaranya adalah orang tua si pembuat filem. Berawal sebagai filem observasional yang cenderung berjarak dengan subjek, perlahan filem ini berubah menjadi sesuatu yang personal.\u00a0<\/span><\/p>\n

Pilihan Kavich untuk tetap merekam hingga bangunan itu runtuh, semacam memantik sebuah perasaan sedih. Dia bisa saja mengakhiri filem tersebut ketika penghuni terakhir keluar dari bangunan, dengan gambar lorong yang penuh debu dan puing-puing, atau dengan gambar salah satu kamar yang sudah kosong. Tetapi Kavich tetap merekam hingga tembok-tembok bangunan berjatuhan. Stephanie Comilang, pembuat filem sebelumya, merasa bahwa dengan memperlihatkan bangunan hingga akhir, Kavich menempatkan bangunan sebagai tokoh yang hidup ketimbang hanya sebagai bangunan saja.\u00a0<\/span><\/p>\n

Kedua filem yang ditayangkan malam ini menceritakan tentang bagaimana sebuah ruang bisa dijadikan sebagai spasial pribadi yang memungkinkan penghuninya bisa merasa nyaman dan aman. Tetapi mereka mempunyai kesan yang beda. Satu berkesan optimis, sedangkan satu berkesan pesimis. Satu mampu mengklaim spasial mereka sendiri dan pada yang lainnya justru spasial mereka sedang diambil.\u00a0\u00a0<\/span><\/p>\n

 <\/p>\n<\/div>\n<\/div>\n[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”Building a Home Out of Space” css=”.vc_custom_1566551994039{margin-bottom: 0px !important;}”]\n

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Jakarta \u2013 On Thursday (8\/22), 7 PM in GoetheHaus, Goethe-Institut Jakarta, the screening of International Competition 06 took place. It is a part of ARKIPEL <\/span>bromocorah \u2013 7<\/span><\/i>th<\/span><\/i> Jakarta International Documentary and Experimental Film Festival<\/span><\/i>, and the session were titled <\/span>Spatial Memory in the Mechanical Bodies.<\/span><\/i> Curated by Syaiful \u201cPaul\u201d Anwar, two of the films screened were <\/span>Lumapit Sa Akin, Paraiso <\/span><\/i>or <\/span>Come to Me, Paradise<\/span><\/i> directed by Stephanie Comilang from Canada, dan <\/span>Yub Menh Bong Keunh Oun Nho Nhim<\/span><\/i> or <\/span>Last Night I Saw You Smiling<\/span><\/i> directed by Kavich Naeng from Cambodia.\u00a0<\/span><\/p>\n

The third screening for today was attended by 27 audiences, including Stephanie Comilang. After the third gong was hit, and the audience sat comfortably, Paul stepped forward to greet them and explained his curatorial. Besides him was Valencia Winata, translating him. Paul elaborated further on how he sees bodies, spaces, forms, and social relations.\u00a0<\/span><\/p>\n

Come to Me, Paradise<\/span><\/i> started with a view of mountains and feminine sounds. The image then transformed into a metropolitan view. Later, it was discovered that this city is Hong Kong. The second image was taken from a high angle, narrated by a voice from an invisible figure, giving the impression of the omnipresent, all-seeing entity. Throughout the film, the camera always switched from the omnipresent gaze to the phone of a domestic worker. This switch gave an observational, yet personal feel. The audience can watch the figures from a certain distance as if they\u2019re spying on them, and then they can get an up-close, personal view, too.<\/span><\/p>\n

Come to Me, Paradise<\/span><\/i> invoked a sad, yet hopeful feeling. The workers have occupied a public space as their private space, that enabled them to gather and relax. Paul also admitted that this film is optimistic, unlike the usual expectations towards domestic workers. Panji Anggira, a film student, liked the friendship between the characters.\u00a0<\/span><\/p>\n

After the credits, the audience gave applause. The first film was greeted positively. Not long after that, the second film started.\u00a0<\/span><\/p>\n

Compared to the first film, <\/span>Last Night I Saw You Smiling<\/span><\/i> is a pessimistic film. This film tells a story about an apartment complex bought by a foreign company, and the tenants must move out. Kavich, the filmmaker, displayed the apartment\u2019s condition, starting from its liveliness, until its destruction. Throughout the film, the camera stayed still, acting as an observer. But few scenes showed the interaction between the subject and the figure behind the camera. The interaction revealed that out of many subjects, two of them is the parents of the filmmaker. The film starts as an observational film detached from its subject, and then it slowly transforms into something personal.<\/span><\/p>\n

Kavich\u2019s choice to keep filming until the building was torn down invoked a feeling of sadness. He could have ended the film when the last tenant walked out of the building, with the image of a hall thick with dust and rubbles, or with one of the empty rooms. But Kavich filmed until the walls of the building fell on the ground. Stephanie Comilang felt that by displaying the buildings until the end, Kavich positioned the building as a living character, not just a building.\u00a0\u00a0<\/span><\/p>\n

Both films screened that night told us how space could be made personal, giving the inhabitants a sense of comfort and security. But the films gave different impressions; the first one is optimistic, opposed to the second one. One claimed their own space, and the others\u2019 space was claimed.<\/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=”10152,10153,10154,10155,10156″ img_size=”large” onclick=””][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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Curated by Syaiful \u201cPaul\u201d Anwar, two of the films screened were Lumapit Sa Akin, Paraiso or Come to Me, Paradise directed by Stephanie Comilang from Canada, dan Yub Menh Bong Keunh Oun Nho Nhim or Last Night I Saw You Smiling directed by Kavich Naeng from Cambodia.\u00a0","breadcrumb":{"@id":"https:\/\/arkipel.org\/building-a-home-out-of-space\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/arkipel.org\/building-a-home-out-of-space\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/building-a-home-out-of-space\/#primaryimage","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/img_7685_ic6_1.jpg?fit=1281%2C720&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/img_7685_ic6_1.jpg?fit=1281%2C720&ssl=1","width":1281,"height":720},{"@type":"BreadcrumbList","@id":"https:\/\/arkipel.org\/building-a-home-out-of-space\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/arkipel.org\/"},{"@type":"ListItem","position":2,"name":"Building a Home Out of Space"}]},{"@type":"WebSite","@id":"https:\/\/arkipel.org\/#website","url":"https:\/\/arkipel.org\/","name":"ARKIPEL","description":"Jakarta International Documentary and Experimental Film Festival","publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/arkipel.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/arkipel.org\/#organization","name":"Arkipel","url":"https:\/\/arkipel.org\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","width":901,"height":351,"caption":"Arkipel"},"image":{"@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/arkipel.festival\/","https:\/\/x.com\/arkipel","https:\/\/www.instagram.com\/arkipel\/","https:\/\/www.youtube.com\/channel\/UCr6MA0fZypBs9tHpfNa3vVQ"]},{"@type":"Person","@id":"https:\/\/arkipel.org\/#\/schema\/person\/506a38894834b2f0166afe51668d5c96","name":"Niskala H. Utami","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/482ba0e70413ef5a0b2f9a3aed6c0349?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/482ba0e70413ef5a0b2f9a3aed6c0349?s=96&d=mm&r=g","caption":"Niskala H. Utami"},"description":"Niskala H. Utami, dikenal sebagai sebuah enigma, adalah seorang seniman multidisipliner yang karyanya mencakup penulisan dan lukisan. Niskala punya pengalaman kerja di berbagai jenis bidang, dari penulis naskah, astrada, manajer proyek, manajer bagi seorang seniman pendatang baru, penulis redaksi, pemimpin kreatif, dan seterusnya. Namun yang selalu konsisten dalam kehidupan Niskala adalah keteguhannya untuk menjelajahi dunia perfileman, musik, dan kesenian. - Niskala H. Utami, also known as sebuah enigma (an enigma), is a multidisciplinary artist who mainly works with writing and paintings. Niskala has experiences in various job outlets such as scriptwriter, assistant director, project manager, manager to an emerging artist, editorial writer, creative lead, etc. But what is consistent in Niskala is a determination to explore the world of films, music, and art.","url":"https:\/\/arkipel.org\/people\/contact-niskalahapsari\/"}]}},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/img_7685_ic6_1.jpg?fit=1281%2C720&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-2DC","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/10144"}],"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\/145"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=10144"}],"version-history":[{"count":0,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/10144\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media\/10152"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=10144"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=10144"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=10144"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}