{"id":10960,"date":"2021-11-25T16:48:58","date_gmt":"2021-11-25T09:48:58","guid":{"rendered":"https:\/\/arkipel.org\/?p=10960"},"modified":"2021-11-25T18:20:40","modified_gmt":"2021-11-25T11:20:40","slug":"common-places-of-suspension","status":"publish","type":"post","link":"https:\/\/arkipel.org\/common-places-of-suspension\/","title":{"rendered":"Common Places of Suspension"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1637831805624{margin-bottom: 0px !important;}”]\n

Common Places of Suspension\u00a0<\/b><\/strong>
\nTempat-Tempat Lumrah bagi Penangguhan
\n<\/em><\/h1>\n

Curator: Philip Widmann<\/strong><\/p>\n

November 28th – December 4th, 2021 | festival.arkipel.org
\nThursday, December 2nd, 2021 | 19:30 | Forum Lenteng<\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1637833273213{margin-bottom: 0px !important;}”]\u201cSungguh aneh rasanya bisa selamat!\u201d seru sang narator yang tak bersuara, pada suatu momen di filem Saif Alsaegh berjudul Bitter with a Shy Taste of Sweetness<\/em>. Narator ini, yang menyebut kita dengan panggilan orang kedua tunggal, menceritakan kembali bagaimana \u201ckamu\u201d telah meninggalkan Baghdad dan tengah berdamai dengan kenangan akan tumbuh kembangmu di lingkungan yang berpotensi mengancam nyawa, impian masa kecilmu yang indah akan Amerika Serikat, dan pengalamanmu bisa tiba di sini, akhirnya, di California. Kesukaran yang meresahkan untuk menyelaraskan ingatan dengan pengalaman yang tampaknya berasal dari planet lain berubah menjadi wujud: garis cakrawala yang miring, lanskap dengan filter berwarna dan lampu disko pada foto keluarga, kamera yang bergerak-gerak dengan liar, suara yang melambat dan terdistorsi.<\/span><\/span><\/p>\n

Ketika program ini dirumuskan di awal Maret 2020, \u201cSungguh aneh rasanya bisa selamat!\u201d terdengar seperti judul yang tepat untuk seleksi filem yang ingin memberi wujud pada pengalaman geografis, kultural, sosio ekonomi, estetis, dan keterasingan emosional. Apa yang mungkin ingin disampaikan oleh seleksi ini adalah bahwa keselamatan, dalam arti merenggangkan nyawa kita melampaui sesuatu yang diketahui, tidaklah sama dengan pergerakan untuk meninggalkan A demi mencapai B, tetapi justru menjadi kondisi ganjil di mana posisi kita tertangguhkan di suatu tempat di antara kedua titik tersebut. Tak lama kemudian, ketika mungkin semakin banyak orang diperintahkan secara serentak untuk berada dalam kondisi mengurangi risiko, jika bukan demi keselamatan sendiri, maka setidaknya untuk mencegah kematian yang dapat dihindari, \u201cSungguh aneh rasanya bisa selamat!\u201d mulai terdengar seperti judul yang benar-benar salah tempat. Namun, pada saat yang sama, pengalaman pandemi mungkin telah memberikan semacam perasaan tertangguhkan bagi banyak orang yang sebelumnya merasa tidak perlu meragukan realitas tak tergoyahkan dari lingkungan dan keistimewaan sehari-harinya. Menyusutnya ruang keseharian menyebabkan sebagian besar kontak sosial berlangsung secara virtual bagi mereka yang mampu mengakses teknologi, tempat kerja menjadi larut ke dalam ruang privat atau bahkan lenyap sama sekali, dan langkah menuju \u201cnormal baru\u201d diregulasi oleh teknologi pengawasan dan penelusuran beserta tindakan birokratis secara manual\u2014dalam setiap kasus, perasaan menginjakkan kaki ke dalam dunia lain yang serba delusional itu selalu ada. Kondisi tertangguhkan ini tidak pernah menjadi lumrah, melainkan muncul dari tempat-tempat lumrah yang menjadi ganjil. Atau mungkin justru sebaliknya, dan ia muncul dari tempat-tempat ganjil yang menjadi lumrah?<\/span><\/span><\/p>\n

Dalam filem Kamal Aljafari berjudul It\u2019s a Long Way from Amphioxus<\/em>, efek digital menyeruak di tempat yang seharusnya tidak pernah menjadi lumrah bagi siapa pun. Di ruang tunggu kantor imigrasi Berlin yang senantiasa penuh sesak, persoalan manusia rupanya telah dienkripsi menjadi nomor antrean. Alfajri mengangkat nomor-nomor tersebut dari penampangnya. Ketika menyeruak keluar dari arsitektur otoritas yang menjemukan, nomor-nomor ini memperoleh sesuatu yang organik, sesuatu yang tidak dapat diperhitungkan oleh logika birokrasi. Judul filem ini diambil dari lagu yang dinyanyikan oleh mahasiswa biologi Amerika Serikat pada tahun 1920-an (dan rupanya sampai hari ini), di mana amphioxus adalah makhluk mirip ikan yang organ dan genomnya memberikan petunjuk mengenai evolusi awal dari vertebrata, dari ikan hingga menjadi manusia. \u201cJauh sekali dari Amphioxus, tapi kita semua berasal dari sana.\u201d Lantas pada tahap perkembangan manakah umat manusia menciptakan kapasitas kolektif untuk bertindak keji terhadap sesama spesiesnya (belum lagi semua spesies lain), memaksa orang-orang untuk meninggalkan rumahnya dan menyeberangi lautan hanya untuk meniskalakan mereka menjadi angka.<\/span><\/span><\/p>\n

Jika ini merupakan wujud tertinggi dari kehidupan, maka mungkin sudah saatnya kita merosot dan beralih dari jalur destruktif gagasan-gagasan evolusionis, melarikan diri ke suatu tempat di mana kita berada di luar dari pemaksaan narasi dan struktur yang hanya menginginkan kemajuan. Suatu tempat di mana sup primordial dan pascamanusia saling bertemu. Dalam Dream Delivery<\/em> karya Zheng Yuan, tidur merupakan risiko sekaligus tempat bersembunyi yang masuk akal bagi petugas pengantar ekonomi gig Lanzhou di Tiongkok barat laut. Sebuah tempat di mana mereka akhirnya dapat berhenti bergerak dan dikenali. Sambil mengingat percakapannya dengan seorang kawan dalam sebuah wawancara, Zheng mengutip perkataan kawan ini bahwa Lanzhou merupakan tempat yang memiliki \u201cciri khas pra-sosialis\u201d yang jarang ditemui di Tiongkok belakangan ini. Bagi Zheng, kesezamanan dari yang tidak sezaman, di mana \u201cpra-\u201c dan \u201cpasca-\u201c, tenaga kerja mati dan hidup (dead and living labor<\/em>) hadir berdampingan dengan cara yang kontradiktif, saling berlawanan, merupakan tempat asal kemunculan masa kini. Berbagai kondisi penangguhan yang berbeda dari keempat filem ini dapat sama-sama dibingkai dengan \u201cpra-\u201c dan \u201cpasca-\u201c: dari umat manusia, dari fisikalitas, dari kiamat. Apakah kita sudah sampai sana? Apakah semua sudah berakhir? Akhirnya selesai juga? Masa kini yang terlalu dini dan terlalu telat ini juga terlalu terang dan terlalu gelap: hiper-visualitas melahirkan ketakkasatmataan, transparansi menimbun keburaman dalam jejaknya, peniskalaan mewujudkan realita konkret yang semakin kehilangan daya bujuknya. Mimpi, imajinasi, fiksi, manipulasi, montase merupakan alat untuk mewarnai nuansa abu-abu dari penangguhan, untuk membongkar dan merakit kembali bahan-bahan yang tidak dapat dicampur, untuk membuat kondisi tertangguhkan yang ganjil ini dapat diakses dari luar serta untuk menjelajahi potensi utopianya.<\/span><\/span><\/p>\n

Shelly Silver menerapkan pilihan-pilihan ini di a tiny place that is hard to touch<\/em> untuk membuat pengamatan telaten terhadap kompleks Tatekawa di Tokyo menjadi lebih dipenuhi ketegangan. Kanal yang menjadi nama bagi kompleks ini, yang terapit di antara bangunan dan diatapi oleh jalan layang, menjadi aliran komunikasi antara berbagai jenis keadaan hidup dan mati. Sang narator berbicara tentang kegagalan dalam komunikasi antarbudaya dan antarpribadi, tentang kemusnahan masa lalu dan masa depan. Di celah antara ruang dan narasi yang terbangun, kebineran menjadi kabur. Biologi dan budaya, kekejian dan kelembutan, perasaan najis dan nafsu, asing dan asali tentunya tidak menjadi sama, tetapi juga bukan oposisi. \u201cDapatkah kita menerjemahkan tanpa memahami, tanpa memafhumi?,\u201d tanya narator di filem Silver. Di antara filem-filem di program ini, barangkali bentuk lain dari pertanyaan ini adalah: \u2018Dapatkah kita memahami tanpa memafhumi, tanpa merengkuh sesuatu, karena ini tentu mengandaikan keberadaan materiil dari segala hal yang perlu dipahami?\u2019<\/span><\/span><\/p>\n

Tempat-Tempat Lumrah bagi Penangguhan<\/strong> merupakan bagian kedua dari kerja sama antara ARKIPEL \u2013 Jakarta International Documentary & Experimental Film Festival<\/em><\/strong> dengan Kassel Documentary Film and Video Festival<\/strong><\/em>, didukung oleh Goethe-Institut Indonesien. Kassel Documentary and Video Festival<\/em> yang didirikan pada tahun 1982 adalah sebuah acara enam-hari yang diselenggarakan setiap tahun di pertengahan November. Program mereka mencakup sekitar 250 filem pendek dan filem panjang, pameran video dan instalasi media, serta simposium dan format edukasional. Bagian pertama dari kerja sama ini, Catatan tentang Eksperimen-Eksperimen Indonesia<\/strong><\/em>, telah ditampilkan di Kassel pada tahun 2019. Bagian kedua dipilih dari filem-filem pendek yang ditampilkan di edisi 2019 Kassel dan awalnya akan ditampilkan di Jakarta pada bulan Agustus 2020.<\/span><\/span><\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1637833149959{margin-bottom: 0px !important;}”]\u201cHow strange it is to survive!\u201d exclaims the unheard narrator at one point in Saif Alsaegh\u2019s Bitter with a Shy Taste of Sweetness<\/em>. This narrator, addressing us in the second person singular, recounts how \u201cyou\u201d have left Baghdad and are trying to come to terms with the memory of growing up in potentially life-threatening surroundings, candy-colored childhood dreams of the United States, and the experience of having eventually arrived right there, in California. The unsettling difficulty of aligning memories and experiences that seem to have originated from different planets becomes form: tilted horizons, color filtered landscapes and disco lights on family photos, frantic panning, sounds slowing down and distorting.<\/span><\/p>\n

When this program was put together in early March 2020, \u201cHow strange it is to survive!\u201d seemed like an appropriate title for a selection of films that attempt to make experiences of geographical, cultural, socio-economic, aesthetical, and emotional displacement tangible. What this selection may suggest is that survival, in the sense of extending one\u2019s life beyond something known, is not tantamount to a movement of leaving A behind in order to reach B, but rather becomes the strange state of being suspended someplace in between. Shortly after, when perhaps more people than ever were instructed simultaneously in the conditions of reducing risk, if not for their own survival, then at least for the prevention of avoidable fatalities, \u201cHow strange it is to survive!\u201d started sounding like a downright misplaced title. At the same time, however, the experience of the pandemic may have brought about a sense of suspension for many who earlier saw no reason for doubting the immovable reality of their everyday surroundings and privileges. With quotidian spaces shrinking, social contact becoming largely virtual for those with access to technology, workplaces dissolving into the private or into nothing at all, and steps towards a \u201cnew normal\u201d being regulated by surveillance and tracking technologies and manual bureaucratic measures alike, the sense of having set foot into a delusional otherworld is never quite far away. Suspension is never commonplace, but it comes out of common places becoming strange. Or is it the other way round, and it comes from strange places becoming common?<\/span><\/p>\n

In Kamal Aljafari\u2019s It\u2019s a Long Way from Amphioxus<\/em>, digital effects intervene in a place that ought not become common for anyone. In a perpetually crowded waiting room of Berlin\u2019s immigration office, it appears as if the concerns of living people had been encrypted into queue numbers. Aljafari lifts them from their displays. Swarming out of the prosaic architecture of public authority, they acquire something organic, something that the logic of bureaucracy cannot account for. The film\u2019s title comes from a song sung by US-American biology students in the 1920s (and apparently until today), amphioxi being fish-like creatures whose organs and genomes provide clues about the early evolution of vertebrates, from fish all the way to humans. \u201cIt’s a long, long way from Amphioxus, but we all came from there.\u201d At what stage of development, then, stands the collective capacity of humans to act against their own species (let alone all others), forcing people to leave their homes and cross the seas only to abstract them into figures?<\/span><\/p>\n

If this is the highest form of life, perhaps it is time to degenerate and sidestep the destructive path of evolutionist ideas, retreating to someplace where one remains outside the coerciveness of progress-driven narratives and structures. Someplace where primordial and posthuman soup run into each other. In Zheng Yuan\u2019s Dream Delivery<\/em>, sleep is both a risk and a possible hideout for gig-economy delivery drivers in Lanzhou in north-western China. A place where they can finally stop moving and become recognizable. Recounting a conversation with a friend in an interview, Zheng quotes this friend saying that Lanzhou was a place featuring \u201cpre-socialist characteristics\u201d rarely found in present-day China. For Zheng, the contemporaneity of the non-contemporaneous, where \u201cpre-\u201d and \u201cpost-\u201d, dead and living labor coexist in contradictory, conflicting ways, is what the present emerges from. Similarly, the different states of suspension of the four films could all be framed by a \u201cpre-\u201d and a \u201cpost-\u201d: of humanity, of physicality, of apocalypse. Are we there yet? Is it already over? Over at last? This present between too early and too late is equally too bright and too dark: hyper-visuality creates invisibilities, transparency amasses opacities in its trail, abstractions form concrete realities that increasingly lack persuasiveness. Dreams, imaginations, fictions, manipulations, montage are tools for coloring the grey shades of suspension, for dissembling and reassembling unmixable ingredients, for making this strange sense of being suspended accessible from the outside and for exploring its utopian potential.<\/span><\/p>\n

Shelly Silver applies these options in a tiny place that is hard to touch<\/em> to put patient observations of the Tatekawa neighborhood in Tokyo under increasing tension. The neighborhood\u2019s eponymous canal, squeezed between buildings and roofed by an elevated highway, becomes a waterway of communication between different states of animate and inanimate being. The voiceover speaks about failures in intercultural and interpersonal communication, about past and future annihilation. In the interstices of built space and narration, binaries blur. Biology and culture, cruelty and gentleness, revulsion and lust, aliens and natives certainly do not become the same, but are no opposites either. \u201cCan one translate without comprehension, without grasping?\u201d, asks the voice in Silver\u2019s film. In between the films of this program, a variant of this question may be: \u2018Can one comprehend without grasping, without taking hold of something, as that would necessarily presuppose the material existence of everything that there is to comprehend?\u2019<\/span><\/p>\n

Common Places of Suspension<\/strong><\/em> is the second part of a cooperation between ARKIPEL \u2013 Jakarta International Documentary & Experimental Film Festival<\/strong> and the Kassel Documentary Film and Video Festival<\/strong>, supported by Goethe-Institut Indonesien. Founded in 1982, the Kassel Documentary and Video Festival is a yearly six-day event taking place in mid-November. Its program includes around 250 short and feature-length films, an exhibition of video and media installations, as well as symposia and educational formats. The first part of this cooperation, Notes on Indonesian Experiments<\/strong><\/em>, was shown in Kassel in 2019. This second part was selected from short films featured in Kassel\u2019s 2019 edition and was originally planned to be shown in Jakarta in August 2020.<\/span><\/p>\n

\u00a0<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Film List” color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1637819978801-76f85e64-390b”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”10966″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637836085088{margin-bottom: 0px !important;}”]\n

Bitter with a Shy Taste of Sweetness<\/b><\/h2>\n

Filmmaker <\/em>Saif Alsaegh<\/strong> (USA)
\n<\/span>International Title<\/em> Bitter with a Shy Taste of Sweetness<\/b>
\n<\/strong>Country of Production<\/em>\u00a0 USA
\n<\/strong>Language<\/em> –
\n<\/strong>Subtitle<\/em>\u00a0 –<\/strong><\/p>\n

8 min 57 sec, stereo, digital video, color, 2019[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637836152630{margin-bottom: 0px !important;}”]Bitter with a Shy Taste of Sweetness<\/em> membandingkan masa lalu terfragmentasi milik si pembuat filem yang tumbuh di Baghdad dengan masa kininya yang surealis di California. Melalui penulisan puitis dan visual yang menderu-deru, filem ini menciptakan rasa memori dan lanskap yang tenang namun juga kejam.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637836183340{margin-bottom: 0px !important;}”]Bitter with a Shy Taste of Sweetness<\/em> contrasts the fragmented past of the filmmaker growing up in Baghdad with his surreal California present. Through poetic writing and jarring visuals, the film creates a calm and cruel sense of memory and landscape.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637503076686-c189603b-0340″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10972″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637836319663{margin-bottom: 0px !important;}”]Saif Alsaegh<\/strong> <\/em>adalah sutradara asal Baghdad yang tinggal di Amerika Serikat. Filem-filemnya telah diputar di berbagai festival termasuk Cin\u00e9ma du R\u00e9el, Kurzfilm Hamburg, dan Kasseler Dokfest, serta di galeri dan museum termasuk di Wisconsin Triennial di Madison Museum of Contemporary Art dan Rochester Contemporary Art Center. Pada tahun 2021, dia menjadi Flaherty Fellow.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637836294232{margin-bottom: 0px !important;}”]Saif Alsaegh<\/strong><\/em> is a United States-based filmmaker from Baghdad. His films was screened in festivals including Cin\u00e9ma du R\u00e9el, Kurzfilm Hamburg, and Kasseler Dokfest, and in galleries and museums including the Wisconsin Triennial at the Madison Museum of Contemporary Art and Rochester Contemporary Art Center. In 2021, he was a Flaherty Fellow.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1637819987068-28310080-e730″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”10973″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637836911787{margin-bottom: 0px !important;}”]\n

\u062c\u0645\u064a\u0639\u0646\u0627 \u0623\u062a\u064a\u0646\u0627 \u0645\u0646 \u0647\u0646\u0627\u0643
\nIt\u2019s a Long Way From Amphioxus
\n<\/b><\/h2>\n

Filmmaker <\/em>Kamal Aljafari<\/strong> (Germany)
\n<\/span>International Title<\/em> It\u2019s a Long Way From Amphioxus<\/b>
\n<\/strong>Country of Production<\/em>\u00a0 Germany
\n<\/strong>Language<\/em> Arabic
\n<\/strong>Subtitle<\/em>\u00a0 English<\/strong><\/p>\n

15 min, stereo, digital video, color, 2019<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637836967320{margin-bottom: 0px !important;}”]Seorang wanita tua bersandar ke pria muda dengan buku kuning di tangan, ia duduk di sebelahnya dan bertanya, “Apa yang mereka bagikan di sini?”. ” Angka”, jawabnya. Di ruang tunggu Berlin, di mana kursi logam dan kayu dipaku ke tanah, orang-orang tiba setelah muncul dari laut. Di sini mereka menunggu. Filem Aljafari mengamati asal-usul keberadaan kita versus masa depan tentang bagaimana kita didefinisikan. Apa jadinya kita usai dari titik asal hingga kekacauan labirin birokrasi hari ini? Jauh dari Amphioxus, kita semua berasal dari sana.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637837004441{margin-bottom: 0px !important;}”]An old woman leans to the young man with the yellow book sitting next to her and asks, \u201cWhat are they distributing here?\u201d \u201cNumbers\u201d, he replies. In Berlin\u2019s waiting rooms, where metal and wooden seats are nailed to the ground, people arrive after emerging from the seas. Here they wait. Aljafari\u2019s film observes the origins of our being versus the future of how we are defined. What have we become from our point of origin until today\u2019s chaos of bureaucratic mazes? It\u2019s a long way from Amphioxus, we all came from there.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637819987270-0dee722b-23b3″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10977″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637837258264{margin-bottom: 0px !important;}”]Kamal Aljafari<\/strong> <\/em>berkarya menggunakan gambar bergerak dan gambar diam menjalinkan fiksi, non-fiksi, dan seni. Filem terdahulunya termasuk Recollection<\/em> (2015), Port of Memory<\/em> (2009), dan The Roof (<\/em>2006). Ia adalah seorang seniman unggulan di Seminar Filem Robert Flaherty (NYC) dan merupakan Anggota di Institut Radcliffe dan Studi Film Universitas Harvard.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637837288325{margin-bottom: 0px !important;}”]Kamal Aljafari<\/strong><\/em> works with moving and still images, interweaving between fiction, non-fiction, and art. Kamal\u2019s past films include \u2018Recollection<\/em>\u2019 (2015), \u2018Port of Memory<\/em>\u2019 (2009), and \u2018The Roof\u2019<\/em> (2006). He was a featured artist at the Robert Flaherty Film Seminar (NYC) and was a Fellow at Harvard University\u2019s Radcliffe Institute and Film Study.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1637820003140-03da7b0f-cb11″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”10983″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637838009477{margin-bottom: 0px !important;}”]\n

Dream Delivery<\/b><\/h2>\n

Filmmaker <\/em>Zheng Yuan<\/strong> (China)
\n<\/span>International Title<\/em> Dream Delivery<\/b>
\n<\/strong>Country of Production<\/em>\u00a0 China
\n<\/strong>Language<\/em> –
\n<\/strong>Subtitle<\/em>\u00a0 –<\/strong><\/p>\n

9 min 50 sec, stereo, digital video, color, 2018<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637838031652{margin-bottom: 0px !important;}”]Seorang pengendara pengiriman barang yang kelelahan tergeletak di bangku taman pinggir jalan dan tertidur dengan pulas. Dalam mimpi, para pekerja berkumpul di taman shanzhai dan menjadi “patung”, membentuk kekontrasan dengan kecepatan dan efisiensi yang mereka kejar tanpa henti sepanjang waktu. Jajaran bintang buruh kontemporer mengungkapkan sisi lain keajaiban ekonomi Cina. Dalam kehidupan perkotaan yang semakin homogen yang diresapi dengan teknologi dan modal, jenis tenaga kerja baru dan eksploitasi sosial muncul ke permukaan. Mobilitas terus-menerus dan tenaga kerja yang gelisah telah mengubah tidur menjadi risiko yang mahal.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637838053830{margin-bottom: 0px !important;}”]An exhausted delivery rider sprawled out on the bench of a roadside park and fell asleep safe and sound. In a dream, laborers gather in a shanzhai park and become \u201cstatues,\u201d forming a contrast with the speed and efficiency they pursue inexhaustibly around the clock. The all-star lineup of contemporary laborers reveals the other side of the Chinese economic miracle. In an increasingly homogenized urban life infused with technology and capital, new kinds of labor and social exploitation surface. Perpetual mobility and restless labor have turned sleep into a costly risk.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637820003807-63f7df6f-f943″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10987″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637838209421{margin-bottom: 0px !important;}”]Zheng Yuan<\/strong><\/em> adalah pembuat filem dan seniman yang tinggal di Beijing. Karyanya sering beroperasi di persimpangan fiksi, dokumenter, dan penelitian investigasi, dengan fokus pada hubungan antara identitas dan sistem nilai dalam kondisi sejarah dan politik yang berbeda. Filem-filemnya telah diputar di Visions du R\u00e9el, Kasseler Dokfest, International Short Film Festival Oberhausen, dan Ann Arbor Film Festival<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637838231139{margin-bottom: 0px !important;}”]Zheng Yuan<\/strong><\/em> is a filmmaker and artist based in Beijing. His work often operates at the intersection of fiction, documentary, and investigative research, focusing on the relationships between identity and value systems within different historical and political conditions. His films have been screened at Visions du R\u00e9el, Kasseler Dokfest, International Short Film Festival Oberhausen, Ann Arbor Film Festival<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1637819999930-a4b43057-43ac”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”10988″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637838774111{margin-bottom: 0px !important;}”]\n

\u89e6\u308c\u304c\u305f\u304d\u5c0f\u3055\u306a\u5834\u6240
\na tiny place that is hard to touch<\/b><\/h2>\n

Filmmaker <\/em>Shelly Silver<\/strong> (USA)
\n<\/span>International Title<\/em> a tiny place that is hard to touch<\/b>
\n<\/strong>Country of Production<\/em>\u00a0 Japan, USA
\n<\/strong>Language<\/em> Japanese
\n<\/strong>Subtitle<\/em>\u00a0 English<\/strong><\/p>\n

38 min 52 sec, stereo, digital video, color, 2019<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637838811667{margin-bottom: 0px !important;}”]Seorang perempuan Amerika menggunakan jasa seorang perempuan Jepang dalam menerjemahkan wawancara perihal turunnya angka kelahiran di Jepang. Perempuan Amerika tersebut merasa tahu benar soal Jepang; perempuan Jepang tersebut menderita akan kelebihan jarak kritis yang ia nyatakan sendiri. Mereka berargumentasi, berkelahi, dan jatuh bersama dalam cinta atau nafsu, saat penerjemah tersebut menyela jam kerja mereka dengan cerita dari dunia yang terinfeksi akan pengetahuan tentang kematiannya sendiri. Nama lingkungan itu diambil dari kanal yang melewati kawasan apartemen tempat di mana si penerjemah tinggal. Merefleksikan balik sebuah dunia beton dalam pola yang terdistorsi oleh warna biru, hijau atau hitam berkilauan, Tatekawa-lah yang membawa pergeseran prosesi antara hewan, tumbuhan, benda, artefak, kematian, kehidupan.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637838834734{margin-bottom: 0px !important;}”]An American woman hires a Japanese woman to translate interviews about Japan\u2019s declining birthrate. The American woman is presumptuous in her knowledge of Japan; the Japanese woman suffers from a self-professed excess of critical distance. They grate, fight, and crash together in love or lust, as the translator interrupts their work sessions with stories from a world infected with the knowledge of its own demise. The canal that runs past the translator\u2019s apartment gives the neighborhood its name. Reflecting back the concrete world in distorted patterns of blue, green or glittering black, the Tatekawa transports a shifting procession of animals, plants, objects, artifacts, death, life.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637820000512-9df57bb6-3365″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10991″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637838969149{margin-bottom: 0px !important;}”]Shelly Silver<\/strong> <\/em>adalah pembuat filem dan seniman yang tinggal di New York. Karyanya telah dipamerkan di berbagai negara, termasuk di MoMA, Tate Modern, Centre Pompidou, MoCA dan Festival Film London, Singapura, New York, Moskow, dan Berlin. Dia adalah seorang profesor di Program Seni Visual, Universitas Columbia.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637838989802{margin-bottom: 0px !important;}”]Shelly Silver<\/strong> <\/em>is a New York based filmmaker and artist. Her work has been exhibited worldwide, including at MoMA, Tate Modern, Centre Pompidou, MoCA and the London, Singapore, New York, Moscow, and Berlin Film Festivals. She is a professor in the Visual Arts Program, Columbia University.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About the Host” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10993″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637839131459{margin-bottom: 0px !important;}”]Philip Widmann<\/strong><\/em> membuat filem, teks, dan program filem. Saat ini, Philip adalah anggota panitia seleksi Festival Seni Media Eropa Osnabr\u00fcck. Dia sebelumnya menyeleksi program filem untuk Image Forum Tokyo, Arkipel Jakarta, Festival Film dan Video Dokumenter Kassel, Festival Film Pendek Internasional Hamburg, serta program tematik untuk pameran dan simposium.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637839160392{margin-bottom: 0px !important;}”]Philip Widmann<\/strong><\/em> makes films, texts, and film programmes. Currently, Philip is a member of the selection committee of the European Media Art Festival Osnabr\u00fcck. He has previously selected film programmes for Image Forum Tokyo, Arkipel Jakarta, Kassel Documentary Film and Video Festival, Hamburg International Short Film Festival, as well as thematic programmes for exhibitions and symposia.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

In the discourse of ethnographic film, representing the subjects living in the periphery will bring forth the experimentation of cinema aesthetics. The experimentation is in parallel with the paradigm shifts in social science and ethics that follow it. The aesthetic explorations, which range from a dramatic construction with the romantic style of Flaherty up to how to perceive anthropological facts with the style of Sensory Ethnography Lab films, contribute to the discourse on the development of this genre. The latest tendency of this cinema is indeed observational and participatory. But these observation and participation bear their own problems.In representing peripheral subjects, especially those who are far or less exposed to media technology, there is a temptation to treat them as a “discovery\u201d. <\/p>\n","protected":false},"author":1,"featured_media":10964,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"Common Places of Suspension","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[551,349],"tags":[552,280,548],"jetpack_publicize_connections":[],"yoast_head":"\nCommon Places of Suspension — ARKIPEL<\/title>\n<meta name=\"description\" content=\"In the discourse of ethnographic film, representing the subjects living in the periphery will bring forth the experimentation of cinema aesthetics. 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