{"id":10265,"date":"2019-08-26T23:00:01","date_gmt":"2019-08-26T16:00:01","guid":{"rendered":"https:\/\/arkipel.org\/?p=10265"},"modified":"2019-08-28T15:15:09","modified_gmt":"2019-08-28T08:15:09","slug":"closing-night-intimate-night","status":"publish","type":"post","link":"https:\/\/arkipel.org\/closing-night-intimate-night\/","title":{"rendered":"Closing Night, Intimate Night"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Malam Penutup, Malam yang Intim\u00a0” css=”.vc_custom_1566978998349{margin-bottom: 0px !important;}”]\n
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Senin (26\/8) menjadi puncak acara ARKIPEL<\/span> bromocorah \u2013 7th Jakarta International Documentary and Experimental Film Festival<\/span><\/i>. Malam penghargaan yang diadakan di GoetheHaus, Goethe-Institut Jakarta dimulai pada pukul 19.00 WIB. Acara penutupan tersebut berisikan pemberian empat kategori penghargaan serta <\/span>performance<\/span><\/i> penutup dari Theo Nugraha.<\/span><\/p>\n

Acara dimulai dengan pembukaan pidato dari Direktur Festival, Yuki Aditya. Dalam pidatonya, Yuki menyatakan bahwa terdapat 1.232 judul filem yang masuk ARKIPEL<\/span> tahun ini, serta berasal 80 negara yang mendaftar. Sebanyak 28 filem lolos untuk mengikuti Kompetisi Internasional, dan festival tahun ini menayangkan total sebanyak 55 filem yang terdiri dari program Kultursinema, Kompetisi Internasional, Kuratorial, Presentasi Khusus, dan Penayangan Khusus.<\/span><\/p>\n

Yuki yang sekaligus menjadi pembawa acara kemudian melanjutkan acara pembacaan filem-filem pemenang. Terdapat 4 kategori penghargaan yang terdiri dari Peransi Award, Jury Award, Forum Lenteng Award, dan ARKIPEL Award.<\/span><\/p>\n

Pembacaan pemenang yang pertama adalah Peransi Award, dibacakan oleh Otty Widasari. Peransi Award ini diberikan kepada pembuat filem muda yang berpotensi. Pemenang Peransi Award diberikan kepada <\/span>Sapu Angin<\/span><\/i> yang disutradarai oleh Cahyo Prayogo (Indonesia). Dari pernyataan yang dibacakan oleh Otty, filem ini membalikkan imajinasi teknologis yang secara kultural melekat dalam sejarah sinema dan audio visual kita. Dengan spekulasi yang cukup berani, kuasa perekaman dialihkan kepada makhluk di luar manusia, hingga filem ini berhasil merekam imaji tak biasa dari kota yang terus berubah.<\/span><\/p>\n

Selanjutnya, pemenang Jury Award dibacakan oleh Hafiz Rancajale. Jury Award diberikan kepada filem terbaik pilihan dewan juri. Para dewan juri sangat terkesan dengan filem yang masuk dan persaingan cukup ketat, maka mereka telah membuat keputusan yang spesial.\u00a0 Dalam Jury award ini, terdapat dua pemenang; yaitu <\/span>Centar<\/span><\/i> yang disutradarai oleh Ivan Markovi\u0107 (Serbia) dan <\/span>The Love of Statues<\/span><\/i> yang disutradarai oleh Peter Samson (Inggris). Menurut pernyataan yang dibacakan Hafiz, <\/span>Centar<\/span><\/i> adalah sebuah karya yang puitis dan baik tak hanya secara estetika, namun juga dalam pengemasan konten. Tradisi arsitektur brutalis yang kental di negara-negara sosialisme dihadirkan dalam formalisme yang digarap dalam laku yang lebih kontemporer hingga tak terjebak pada logika medium semata. <\/span>The Love of Statues<\/span><\/i> sendiri adalah sebuah spekulasi visual yang mempesona; ia unik dalam estetikaknya, puitis dalam refleksinya dan berkedalaman pada strukturnya.<\/span><\/p>\n

Penghargaan selanjutnya dibacakan oleh Dhuha Ramadhani yang mengumumkan pemenang Forum Lenteng Award. Secara sederhana, penghargaan ini diberikan kepada filem yang mendapatkan sambutan terbanyak dari anggota Forlen. Penghargaan ini jatuh kepada <\/span>Blues Side on the Blue Sky<\/span><\/i> yang disutradarai oleh Rachmat Hidayat Mustamin (Indonesia). Dari pernyataan yang dibacakan Dhuha, filem ini adalah suatu wujud kepekaan seorang anak muda yang merekam persoalan lokal secara kontemporer, namun dalam kemasannya bisa diresap secara universal, yaitu puisi.<\/span><\/p>\n

ARKIPEL<\/span> award sebagai penghargaan tertinggi diberikan kepada filem yang dianggap terbaik secara umum. Penganugerahan penghargaan ini dibacakan oleh Scott Miller Berry. <\/span>The Future Cries Beneath Our Soil<\/span><\/i> yang disturadarai oleh Pham Thu Hang (Vietnam) menjadi pemenang ARKIPEL award tahun ini. \u201cMelalui kesetiaannnya terhadap keseharian para tokohnya, filem ini lebih terlihat semacam spasialitas yang mengikis universalitas perang, di mana kisah di sebuah rumah yang tanpa pintu selalu membuka kemungkinan-kemungkinan kehadiran (<\/span>presence<\/span><\/i>) dan peristiwa (<\/span>event<\/span><\/i>), ketimbang pretensi terhadap hal-hal yang representasional\u201d, ujar Scott dalam pengantarnya.<\/span><\/p>\n

Acara berlanjut dengan pemutaran filem-filem pemenang, yaitu <\/span>Sapu Angin<\/span><\/i>, <\/span>Blues side on the Blue Sky<\/span><\/i>, dan <\/span>The Love of Statues<\/span><\/i>.<\/span><\/p>\n

Sapu Angin<\/span><\/i> karya Cahyo Wulan Prayogo yang dibuat 2017, adalah filem seleksi Kompetisi Internasional 08: <\/span>Indeks dan Konteks Eksperimentasi Bentuk<\/span><\/i>. Filem ini merupakan sebuah upaya eksperimentasi bentuk yang dilakukan dengan menempatkan kamera pada tubuh merpati untuk merekam lanskap melalui sudut pandang mata burung <\/span>(bird eye view)<\/span><\/i>. Pengambilan gambar yang diserahkan sepenuhnya pada gerak organis burung menciptakan jenis bentuk citra yang tak terprediksi indra perseptual. Namun, citra tersebut sebetulnya tetap terukur sebab terdapat pola visual yang dihasilkan oleh gerakan konstan sayap burung tersebut saat berlangsungnya perekaman. Eksperimentasi bentuk visual yang dilakukan Cahyo adalah siasat sutradara dalam melakukan pemetaan terhadap arah pembangunan dan wilayah yang terprivatisasi.<\/span><\/p>\n

Filem kedua adalah karya Rachmat Hidayat Mustamin yang diproduksi bersama Imitation Project di tahun 2018. Karya tersebut berjudul <\/span>Blues Side On The Blue Sky<\/span><\/i> dan ditayangkan pada program Candrawala. Filem ini mengangkat isu kesehatan mental yang berhadapan dengan ketidakpahaman masyarakat kita dalam menanganinya. Gejala medis tersebut sering kali dikaitkan dengan hal-hal supranatural sehingga upaya penyembuhan yang dilakukan pun dideterminasi oleh mitos yang berkembang di masyarakat setempat. Rachmat, secara puitik, menghadirkan persoalan bagaimana mitos berperan dalam pengambilan keputusan-keputusan yang ada di masyarakat.<\/span><\/p>\n

Filem terakhir berjudul <\/span>The Love of Statues<\/span><\/i> karya Peter Samson yang diproduksi tahun 2019. Filem ini adalah kombinasi <\/span>footage<\/span><\/i> dan hasil rekaman sutradara terhadap berbagai ruang yang kemudian disatukan oleh gerak ritmik yang spesifik. Eksperimentasi Peter membenturkan imajinasi gambar terhadap asosiasi bunyinya dengan imajinasi bunyi yang lain yang menghasilkan ruang interpretasi yang polemis. Filem ini berhasil memunculkan capaian estetik dalam tradisi formalis<\/span><\/p>\n

Selesai diputarkannya beberapa filem penerima penghargaan, seorang seniman bunyi, Theo Nugraha, melakukan performans sebagai penutup Malam Penghargaan. Performans yang ia beri judul <\/span>Plague <\/span><\/i>(<\/span>Electronic Edition<\/span><\/i>) merupakan suatu bentuk responnya akan hubungan teknologi dengan tubuh manusia. Dengan melakukan tamparan dan pukulan ke tubuhnya sendiri, ia merekam hasil bunyi-bunyian tersebut dan mereproduksinya secara berulang hingga terdengar suara-suara unik dari tubuh yang ia pukul dan tampar tersebut.<\/span><\/p>\n

Selesai Malam Penghargaan, acara berlanjut ke halaman belakang Goethe Institut. Suasana malam itu ramai dengan para hadirin acara, panitia, pembuat filem, kurator dan lain sebagainya. Malam Penghargaan yang menjadi malam terakhir ARKIPEL dimeriahkan dengan karaoke bersama, bercengkrama dan menikmati suguhan kecil yang disediakan penyelanggara. Sebuah layar putih yang ditembak dengan teks-teks lagu nampak sudah disiapkan oleh tim musik.\u00a0<\/span><\/p>\n

Menurut Joren Pelfrene, pengunjung asal Belgia, filem <\/span>Blues Side at the Blue Sky<\/span><\/i> (2018) karya Rachmat Hidayat Mustamin, penerima Forum Lenteng Award, menjadi favoritnya di pemutaran malam ini. \u201cARKIPEL adalah festival filem yang sangat menarik. Festival ini juga sangat spesial karena ia bisa diselenggarakan di Jakarta dan tetap menarik banyak audiens. Biasanya, filem eskperimental belum tentu bisa menarik banyak audiens. Tetapi ARKIPEL berhasil terlaksana dan memiliki banyak penonton,\u201d ujar Joren.<\/span><\/p>\n

Pengunjung lain, Haris, mengaku bahwa ia selalu suka dengan rangkaian acara ARKIPEL, terutama Malam Penghargaan. Dari ketiga filem yang diputar malam ini, lagi-lagi filem Rachmat yang menjadi favorit. Haris merasakan atmosfer seni yang kuat di ARKIPEL tahun ini dibandingkan tahun-tahun sebelumnya. Bagi pengunjung lain, Heidy, ternyata ARKIPEL menjadi pengalaman pertamanya dalam merayakan sinema. Ia memilih filem <\/span>Sapu Angin <\/span><\/i>(2017) karya Cahyo Wulan Prayogo sebagai filem favoritnya malam itu. Dari filem tersebut, Heidy merasakan intensi si sutradara tentang kebebasan burung.\u00a0\u00a0<\/span><\/p>\n

ARKIPEL tahun ini terasa sangat intim, karena kami bisa berbaur dengan siapa pun, dari penyelenggara, kurator, pembuat filem, hingga tamu-tamu festival lainnya. Menonton seluruh filem yang ditayangkan merupakan pengalaman yang sangat berkesan. Melalui tontonan tersebut bisa terlihat bahwa sinema semakin berkembang dan bentuk-bentuk eksperimentasi semakin variatif pula. Namun pernyataan atas eksperimentasi itu kemudian yang menjadi pondasi utama bagi pembuat filem, yang menjadikan filem tersebut penting dan pada akhirnya dipertemukan kepada penonton melalui sebuah festival.<\/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=”Closing Night, Intimate Night” css=”.vc_custom_1566979022605{margin-bottom: 0px !important;}”]Monday (8\/26) was the peak of the event of ARKIPEL<\/span> bromocorah \u2013 7th Jakarta International Documentary and Experimental Film Festival. <\/span><\/i>The awarding night at GoetheHaus, Goethe-Institut Jakarta started at 7:00 pm. The agenda consisted of the awarding of four categories and a closing performance from Theo Nugraha.<\/span><\/p>\n

The awarding night started with the opening speech from the Festival Director, Yuki Aditya. In his speech, Yuki stated that there were 1.232 films submitted to ARKIPEL this year from 80 countries. Twenty-eight films were selected to International Competition, and this year the festival screened in a total of 55 films, divided into several programs such as Kultursinema, International Competition, Curatorial, Special Presentation, and Special Screening.<\/span><\/p>\n

Yuki, who was also the host of the night, continued reading the awarded films. There were four categories, namely Peransi Award, Jury Award, Forum Lenteng Award, and ARKIPEL Award.<\/span><\/p>\n

The first award was Peransi Award, announced by Otty Widasari. Peransi Award was given to a potential young filmmaker. The award went to <\/span>Sapu Angin <\/span><\/i>by Cahyo Prayogo (Indonesia). Otty stated that the film reverses technological imagination culturally adhered in our history of cinema and audiovisual. With daring speculation, the authority of recording was handed over to a non-human creature, so that the film succeeds in recording an unusual image of an ever-changing city.<\/span><\/p>\n

Hafiz Rancajale announced the next award. Jury Award was given to the best film selected by the Jury. The Jury were impressed with the submitted films and the tight competition, so they made an extraordinary decision. In this Jury Award, there were two awarded films; <\/span>Centar <\/span><\/i>by Ivan Markovi\u0107 (Serbia) and <\/span>The Love of Statues <\/span><\/i>by Peter Samson (UK). Hafiz stated that <\/span>Centar <\/span><\/i>is a poetic both in its aesthetic and content enfolding. The thick brutalist architecture tradition is presented in a more contemporary act of formalism so that it is not caught up in a mere logic of medium. <\/span>The Love of Statue <\/span><\/i>is fascinating visual speculation; it is aesthetically unique, poetic reflection, and structurally profound.<\/span><\/p>\n

The next award, Forum Lenteng Award, was announced by Dhuha Ramadhani. In short, the award was given to the film most applauded by Forum Lenteng members. The award went to <\/span>Blues Side on the Blue Sky <\/span><\/i>by Rachmat Hidayat Mustamin (Indonesia). Dhuha stated that this film is a form of the sensitivity of a young man who records a local issue in a contemporary manner that is able to be absorbed universally, that is poetry.<\/span><\/p>\n

ARKIPEL<\/span> Award<\/span> as the highest award went to the film considered the best in general. Scott Miller Berry announced the award. <\/span>The Future Cries Beneath Our Soil <\/span><\/i>by Pham Thu Hang (Vietnam) received the ARKIPEL Award<\/span> as the winner this year. “By its loyalty to the everyday life of the characters, this film comes across as a kind of spatiality scraping the universality of war, in which a story in a house without a door always opens the possibilities of presence and event, rather than the pretense of representational matters,” Scott stated.<\/span><\/p>\n

The event was continued by the screening of the awarded films: <\/span>Sapu Angin, Blues Side on the Blue Sky, <\/span><\/i>and <\/span>The Love of Statues.<\/span><\/i><\/p>\n

Sapu Angin <\/span><\/i>by Cahyo Wulan Prayogo made in 2017 is a selected film in International Competition 08:<\/span> Index and Context of Formal Experimentation. <\/span><\/i>The film is formal experimentation by putting a camera on the body of a pigeon to record the landscape with a bird-eye view. The recording given up entirely to the organic movement of the bird creates an image unpredictable by perceptual senses. But, the image actually remains measurable due to the visual pattern generated by the constant movement of the bird’s wing during recording. The formal experimentation by Cahyo is a strategy to map the direction of development and privatized area.<\/span><\/p>\n

The second film is the work of Rachmat Hidayat Mustamin produced with Imitation Project in 2018. The film is titled <\/span>Blues Side on The Blue Sky, <\/span><\/i>screened in Candrawala program. The film raises mental health issue facing the misunderstanding of our society in handling the issue. The medical symptoms are often linked to supernatural matters so that local myths determine healing methods. Rachmat, in a poetic manner, presents the issue of how myth plays its role in decision making within the society.<\/span><\/p>\n

The last film was <\/span>The Love of Statues <\/span><\/i>by Peter Samson, produced in 2019. The film is a combination of footages and recordings of the director of various spaces, put together by a specific rhythmical movement. Peter’s experimentation collides the imagination of an image to its association of sound with the imagination of other sounds, generating a polemic interpretation of space. The film succeeds to present aesthetic achievement in formalist tradition.<\/span><\/p>\n

After the screening, a sound artist, Theo Nugraha, performed as the closing of the Awarding Night. His performance titled <\/span>Plague (Electronic Edition) <\/span><\/i>is his response to the relation between technology and the human body. By hitting and slapping his own body, he recorded those sounds and reproduced them repeatedly until came the unique sounds of his body that he hit and slapped.<\/span><\/p>\n

After the Awarding Night, the event shifted to the outdoor of Goethe Institut. The night was crowded with the audience, the committee, filmmakers, curators, and others. The last night of ARKIPEL was enlivened with karaoke, chatting, and enjoying treats provided by the organizers. The music team prepared a white screen projected by karaoke texts.<\/span><\/p>\n

According to Joren Pelfrene, a guest from Belgia, <\/span>Blues Side at the Blue Sky <\/span><\/i>(2018) by Rachmat Hidayat Mustamin, awardee of Forum Lenteng Award, was his favorite at tonight’s screening. \u201cIt\u2019s a very charming film festival. And it is very special because you can hold it in Jakarta because the experimental film doesn\u2019t always attract lots of audiences. And it is great because you can organize something like this as a festival and attract people to come to see it.<\/span><\/p>\n

Another guest, Haris, admitted that he always likes ARKIPEL event series, especially Awarding Night. Out of three films screened tonight, Rachmat’s film is once again a favorite. Haris felt a strong artistical atmosphere at ARKIPEL this year compared to previous years. For another guest, Heidy, ARKIPEL was her first experience in celebrating cinema. She chose <\/span>Sapu Angin <\/span><\/i>(2017) by Cahyo Wulan Prayogo as her favorite film that night. From the film, Heidy identifies the intention of the director on the freedom of the bird.<\/span><\/p>\n

This year’s ARKIPEL felt intimate because we can interact with anyone, whether they are organizers, curators, filmmakers, or other festival guests. Watching all the screened films was a memorable experience. Through the films, it can be seen that cinema is growing and forms of experimentations are more varied. But, the statement on the experimentation is the primary foundation for filmmakers, who make the films important and are finally they are brought to the audience through a festival.<\/span><\/p>\n[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”10266,10267,10268,10269,10270,10271,10272,10273,10274,10275,10276,10277,10278,10279,10280,10281,10282,10283,10284,10285,10286,10287,10288,10289,10290,10291,10292,10293,10294,10295,10296,10297,10298,10299,10300,10301,10302,10303,10304,10305,10306,10307,10308,10309,10310,10311″ img_size=”medium”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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