{"id":10159,"date":"2019-08-23T18:00:54","date_gmt":"2019-08-23T11:00:54","guid":{"rendered":"https:\/\/arkipel.org\/?p=10159"},"modified":"2019-08-24T11:49:38","modified_gmt":"2019-08-24T04:49:38","slug":"triangle-circle-rectangle-experimenting-with-forms","status":"publish","type":"post","link":"https:\/\/arkipel.org\/triangle-circle-rectangle-experimenting-with-forms\/","title":{"rendered":"Triangle, Circle, Rectangle: Experimenting with Forms"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Segitiga, Lingkaran, Kotak: Bermain dengan Bentuk” css=”.vc_custom_1566621897740{margin-bottom: 0px !important;}”]\n
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Jakarta – Pada hari Jumat (23\/8) pukul 4:30 sore di GoetheHaus, telah dilaksanakan pemutaran Kompetisi Internasional 8 ARKIPEL <\/span>bromocorah<\/span><\/i> yang berjudul <\/span>Indeks dan Konteks Eksperimen Bentuk.<\/span><\/i> Pemutaran ini didatangi oleh 14 penonton. Sebelum filem diputar, Zikri \u2013 sebagai kurator penyaji program ini \u2013 maju ke depan untuk memberi beberapa kata sambutan. Ia menjelaskan akan ada filem dari berbagai macam negara, termasuk Indonesia. Keenam filem yang ditayangkan yaitu <\/span>Memoria del Escapia <\/span><\/i>atau <\/span>Space Memory<\/span><\/i> disutradarai oleh Rodrigo Noya dari Argentina, <\/span>Steine<\/span><\/i> atau <\/span>Stones<\/span><\/i> disutradarai oleh J\u00f6rn Staeger dari Jerman, <\/span>Liquid Traits of an Image Apparatus<\/span><\/i> disutradarai oleh Vera Sebert dari Austria, <\/span>Centar <\/span><\/i>disutradarai oleh Ivan Markovic dari Serbia, <\/span>Saturation<\/span><\/i> disutradarai oleh Perrien Lievois dari Perancis, Sapu Angin atau <\/span>Windswept<\/span><\/i> disutradarai oleh Cahyo Prayogo dari Indonesia.\u00a0<\/span><\/p>\n

Filem pertama yang ditayangkan adalah <\/span>Space Memory<\/span><\/i> berdurasi 10 menit. Rodrigo Noya menggunakan cahaya yang masuk melalui kisi-kisi jendela. Dia bermain dengan cahaya, waktu, suara, dan <\/span>editing.<\/span><\/i> Rodrigo mampu membangun imajinasi penonton dengan memanipulasi cahaya. Ia melakukan ini dengan cara memperlihatkan apa yang ada di luar, lalu \u201cmenutup\u201d bagian lainnya. Walaupun penonton tidak bisa melihat secara langsung gambar secara keseluruhan seperti apa, tetapi dengan gambar-gambar yang ada, penonton masih bisa membayangkan potongan-potongan yang hilang, sama seperti <\/span>puzzle<\/span><\/i>.<\/span><\/p>\n

Filem kedua adalah <\/span>Stones<\/span><\/i>. Sebelumnya, filem ini sudah ditayangkan pada malam pembukaan ARKIPEL, Selasa (20\/8) yang lalu. Ufik, anggota Milisifilem, pernah menjelaskan bagaimana <\/span>Stones<\/span><\/i> mampu \u201cmemanusiakan batu\u201d. Memang, pada awal filem ini, batu digambarkan sebagai sesuatu yang bebas. Mereka bisa ditemukan di alam, dibentuk secara organik oleh erosi. Tetapi pada akhirnya mereka dikurung dan bentuk mereka diubah untuk menyesuaikan kebutuhan.\u00a0<\/span><\/p>\n

Filem berikutnya adalah <\/span>Liquid Traits of an Image Apparatus.<\/span><\/i> Filem ini, secara singkat, bermain dengan bentuk dan cahaya. Ketika menonton filem ini, saya teringat filem-filem eksperimental yang dibuat oleh para Dadaist seperti: <\/span>Anemic Cinema<\/span><\/i> karya Man Ray dan Marcel Duchamp atau <\/span>Rhythmus 21<\/span><\/i> karya Hans Richter. Saking cepatnya pergerakan gambar, terkadang mata belum menyesuaikan dengan apa yang di layar namun tiba-tiba gambar berikutnya sudah muncul.\u00a0<\/span><\/p>\n

Awal menonton filem kelima, <\/span>Centar,<\/span><\/i> gambar-gambar yang dipertunjukkan berupa dari sebuah bangungan. Bangunan ini kosong dan kesannya seperti sudah ditinggalkan lama, tetapi kondisi bangunan masih bagus. Ketika muncul orang pun, seakan-akan mereka masuk tanpa izin karena mereka \u201ctidak pantas\u201d di situ. Walaupun mereka bekerja untuk membersihkan dan merawat bangunan tersebut, tetapi gerakan mereka terlihat sangat kaku dan tidak organik, seperti robot. Ditambah lagi bentuk ruang yang geometris dan hampir tidak ada bentuk yang <\/span>biomorphic<\/span><\/i>. Tanaman-tanaman yang terlihat sudah ditata dengan rapi. Walaupun penonton tidak diperlihatkan eksterior luarnya, tetapi dari interior saja bisa berasumsi bahwa ini adalah sebuah gedung yang megah.\u00a0<\/span><\/p>\n

Saturation<\/span><\/i> sedikit berbeda dengan yang lain. Jika yang lain bermain dengan bentuk atau cahaya, <\/span>Saturation<\/span><\/i> lebih bermain dengan warna, tepatnya warna hitam-putih. Kontras antara kedua warna yang berlebihan menimbulkan visual yang menarik. <\/span>Saturation<\/span><\/i> juga sedikit bermain dengan bentuk, yaitu dengan sudut pengambilan gambar oleh kamera. Sudut pengambilan gambarnya cukup ekstrim, maka terjadi distorsi yang menghasilkan garis-garis yang tegas.\u00a0<\/span><\/p>\n

Filem keenam yang diputarkan mempunyai pendekatan yang menarik dalam menangkap tatapan <\/span>birds-eye<\/span><\/i>. Ketimbang menggunakan <\/span>drone<\/span><\/i> yang sudah menjadi praktik standar, <\/span>Sapu Angin<\/span><\/i> menggunakan burung yang nyata.\u00a0 Cahyu menggunakan <\/span>spy cam<\/span><\/i> yang dilekatkan pada rompi yang dipasangkan ke tubuh burung merpati dan membiarkannya terbang. Entah karena pergerakan merpati yang terlalu cepat atau kualitas kamera yang memang kurang bagus, tetapi gambar-gambar yang diambil tidak terlalu jelas. Walaupun itu, penonton masih bisa berimajinasi dan berasumsi terhadap apa yang ada di layar.\u00a0<\/span><\/p>\n

Selesai pemutaran, Zikri maju ke depan lagi. Dia mengundang serta Cahyo sebagai sutradara <\/span>Sapu Angin <\/span><\/i>untuk bercerita. Cahyo menjelaskan sedikit proses dan latar belakang mengenai fielm ini. Bahwa filem ini termasuk projek berkelanjutan mengenai tanah yang perlahan-lahan mengecil. Tanah yang dimaksud Cahyo adalah yang bersifat organik; seperti sawah, yang mulai berkurang karena dijadikan sesuatu yang lebih konkret.\u00a0<\/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=”Triangle, Circle, Rectangle: Experimenting with Forms” css=”.vc_custom_1566621944914{margin-bottom: 0px !important;}”]\n

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Jakarta – On Friday (8\/23) 4:30 pm at GoetheHaus, International Competition 08 of ARKIPEL <\/span>bromocorah<\/span><\/i> titled <\/span>Index and Context of Formal Experimentation.<\/span><\/i> 14 audiences attended the screening. Before the screening, Zikri \u2013 as a selector of this program \u2013 came forward to deliver a brief introduction. He explained that there would be films from diverse countries, including Indonesia. Six films screened were <\/span>Memoria del Escapia<\/span><\/i> or <\/span>Space Memory<\/span><\/i> by Rodrigo Noya (Argentine), <\/span>Steine<\/span><\/i> or <\/span>Stones<\/span><\/i> by J\u00f6rn Staeger (Germany), <\/span>Liquid Traits of an Image Apparatus<\/span><\/i> by Vera Sebert (Austria), <\/span>Centar<\/span><\/i> by Ivan Markovic (Serbia), <\/span>Saturation<\/span><\/i> by Perrien Lievois (France), <\/span>Sapu Angin<\/span><\/i> atau <\/span>Windswept<\/span><\/i> by Cahyo Prayogo (Indonesia).<\/span><\/p>\n

The first film was <\/span>Space Memory, <\/span><\/i>duration 10 minutes. Rodrigo Noya used light coming from between the window grids. He explores light, time, sound, and editing. Rodrigo was able to build the audience’s imagination by manipulating light \u2013 he shows what is on the outside, and then “closes” the other parts. Even if the audience is unable to see the full image, but they can imagine the missing pieces, like a puzzle, through the shown images.\u00a0<\/span><\/p>\n

The second film was <\/span>Stones.<\/span><\/i> This film had previously been screened on the ARKIPEL opening night on Tuesday (8\/20). Ufik, a Milisifilem participant, had once explained how <\/span>Stones<\/span><\/i> “personified stones.” Indeed, at the beginning of the film, the stones are depicted as a free being. They can be found in nature, created organically by erosion. But in the end, they are confined, and their shapes are altered conveniently to human needs.<\/span><\/p>\n

The next film is <\/span>Liquid Traits of an Image Apparatus. <\/span><\/i>Shortly, this film experiments with form and light. The film reminded me of experimental films made by Dadaists, such as <\/span>Anemic Cinema <\/span><\/i>by Man Ray and Marcel Duchamp or <\/span>Rhythmus 21 <\/span><\/i>by Hans Richter. Because of the fast motion of the image, sometimes the eyes have not adjusted to the image shown on the screen, but the next image has abruptly changed.<\/span><\/p>\n

At the beginning of the fifth film, <\/span>Centar, <\/span><\/i>the images displayed are from a building. The building is empty and seems to be long abandoned, but it is still in good condition. Even when people start to appear on the screen, it is as if they are entering without permission because they are not supposed to be there. Even when they are working by cleaning and taking care of the building, their movement is stiff, unnatural, like a robot. This depiction is augmented by the geometric form of the spaces with no biomorphic form. Plants also look neatly arranged. Even though the audience could not see the exterior of the building, but we can assume its grandness from the interior.<\/span><\/p>\n

Saturation <\/span><\/i>is a bit different than the rest. If the other films in this session tend to experiment with form or light, <\/span>Saturation<\/span><\/i> experiments with colors, specifically black and white. The amplified contrast between the two creates a fascinating visual. <\/span>Saturation <\/span><\/i>also experiments a bit with form, with the angle of the camera. The angle is quite extreme, so it results in distortion that creates bold lines.<\/span><\/p>\n

The sixth film has an interesting approach in capturing a birds-eye view<\/span>.<\/span><\/i> Instead of using a drone, which has become standard practice, <\/span>Sapu Angin <\/span><\/i>uses an actual bird. Cahyo \u2013 the director \u2013 uses <\/span>spycam <\/span><\/i>attached to a vest put on a dove’s body and lets it fly. Whether it is because the movement of the dove is too fast or the camera quality is not too advanced, the images are not clear. Although, the audience is still able to imagine and assume what is shown on screen.<\/span><\/p>\n

After the screening, Zikri once again came forward. He invited Cahyo as the director of <\/span>Sapu Angin<\/span><\/i> to tell the audience a bit of the film. Cahyo explained briefly the process and background of the film that the film is a part of an ongoing project on the receding land. The land mentioned refers to organic land; such as rice fields receding, turned into something more concrete.<\/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=”10160,10161,10162,10163,10164″ img_size=”large” onclick=””][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

Six films screened were Memoria del Escapia or Space Memory by Rodrigo Noya (Argentine), Steine or Stones by J\u00f6rn Staeger (Germany), Liquid Traits of an Image Apparatus by Vera Sebert (Austria), Centar by Ivan Markovic (Serbia), Saturation by Perrien Lievois (France), Sapu Angin atau Windswept by Cahyo Prayogo (Indonesia).<\/p>\n","protected":false},"author":145,"featured_media":10164,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"Triangle, Circle, Rectangle: Experimenting with Forms","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":"\nTriangle, Circle, Rectangle: Experimenting with Forms — ARKIPEL<\/title>\n<meta name=\"description\" content=\"Six films screened were Memoria del Escapia or Space Memory by Rodrigo Noya (Argentine), Steine or Stones by J\u00f6rn Staeger (Germany), Liquid Traits of an Image Apparatus by Vera Sebert (Austria), Centar by Ivan Markovic (Serbia), Saturation by Perrien Lievois (France), Sapu Angin atau Windswept by Cahyo Prayogo (Indonesia).\" \/>\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\/triangle-circle-rectangle-experimenting-with-forms\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Triangle, Circle, Rectangle: Experimenting with Forms — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"Six films screened were Memoria del Escapia or Space Memory by Rodrigo Noya (Argentine), Steine or Stones by J\u00f6rn Staeger (Germany), Liquid Traits of an Image Apparatus by Vera Sebert (Austria), Centar by Ivan Markovic (Serbia), Saturation by Perrien Lievois (France), Sapu Angin atau Windswept by Cahyo Prayogo (Indonesia).\" \/>\n<meta property=\"og:url\" content=\"https:\/\/arkipel.org\/triangle-circle-rectangle-experimenting-with-forms\/\" \/>\n<meta property=\"og:site_name\" content=\"ARKIPEL\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/arkipel.festival\/\" \/>\n<meta property=\"article:published_time\" content=\"2019-08-23T11:00:54+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-08-24T04:49:38+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2019\/08\/img_7794_b_ic8_5.jpg?fit=1281%2C720&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"1281\" \/>\n\t<meta property=\"og:image:height\" content=\"720\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Niskala H. 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