{"id":10961,"date":"2021-11-25T19:04:29","date_gmt":"2021-11-25T12:04:29","guid":{"rendered":"https:\/\/arkipel.org\/?p=10961"},"modified":"2021-11-25T19:33:13","modified_gmt":"2021-11-25T12:33:13","slug":"watching-shadows","status":"publish","type":"post","link":"https:\/\/arkipel.org\/watching-shadows\/","title":{"rendered":"Watching Shadows"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1637836163910{margin-bottom: 0px !important;}”]\n

Watching Shadows<\/b><\/strong>
\nMelihat Bayangan<\/em><\/span><\/h1>\n

Host: Dhanurendra Pandji<\/strong><\/p>\n

December 5th – 11th, 2021 | festival.arkipel.org
\nSaturday, December 4th, 2021 | 16.00 | 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_1637836281598{margin-bottom: 0px !important;}”]Pada alegori gua yang ditulis Plato dalam buku Republic<\/em>, Socrates meminta Glaucon untuk membayangkan tentang sekelompok tahanan yang sepanjang hidupnya terbelenggu di dasar gua. Para tahanan ini dirantai pergelangan tangan dan lehernya pada sebuah dinding dalam kondisi tetap, sehingga mereka tidak dapat melihat satu sama lain, bahkan dirinya sendiri. Di belakang dinding tempat para tahanan dirantai, terdapat pancaran sinar obor yang dilalui oleh iring-iringan para pembawa benda. Sehingga bayang-bayang benda yang muncul pada dinding gua di hadapan para tahanan tersebut dipersepsikan sebagai satu-satunya realita bagi para tahanan gua.<\/span><\/span><\/p>\n

Pengandaian Socrates di atas mengingatkan saya pada pertunjukan wayang kulit yang sempat saya nikmati sewaktu kecil. \u201cWayang\u201d, \u201cwayangan\u201d, atau \u201cayang-ayang\u201d adalah istilah bagi \u201cbayangan\u201d dalam Bahasa Jawa. Idealnya, pertunjukan wayang dimainkan dari balik kelir atau layar besar berwana putih, sementara di belakangnya disorotkan cahaya dari blencong atau lampu minyak, sehingga penonton dapat melihat figur-figur pewayangan yang dimainkan dalang melalui bayangan yang jatuh pada kelir. Jajaran wayang dibagi menjadi dua; di sisi kanan diisi para kesatria dan di sisi kiri diisi para angkara murka. Sayangnya, pertunjukan wayang yang saya tonton kala itu keluar dari pakemnya dengan menghadapkan dalang bersama kelompok karawitan di hadapan penonton. Jajaran tokoh wayang pun bertukar posisi. Para angkara murka di sisi kanan dan para satria di sisi kiri. Persoalan selanjutnya muncul ketika apa yang kami lihat waktu itu bukan lagi wilayah citraan atau bayang-bayang, melainkan wilayah sumber citra yang terpantul oleh cahaya, yaitu wilayah benda-benda.
\n<\/span><\/span><\/p>\n

Berangkat dari kerangka ontologis yang dibeberkan Plato, mungkin kami sebagai penonton wayang adalah salah seorang tahanan yang berhasil terbebas untuk melihat bagaimana hukum-hukum yang mendasari realitas pada bayangan gua. Plato menegaskan bahwa realitas sesungguhnya berada pada wilayah pemikiran tempat hakikat dari objek-objek inderawi berada dan mendasari realitas inderawi yang dapat kita persepsikan. Sehingga hal ini menjelaskan bagaimana seorang tahanan yang tercerahkan tersebut telah membunuh ilusi yang terbangun di kepala para tahanan lainnya ketika ia kembali ke dalam gua untuk menjelaskan dimensi realita di luar apa yang dipersepsikan para tahanan lain. Namun, dalam kasus pertunjukan wayang kulit yang saya alami, agaknya saya mendapati perspektif yang berbeda dalam melihat bayangan. Seperti kita tahu, pertunjukan wayang adalah permainan bidang gelap yang tercipta melalui kerja cahaya di balik kelir, sehingga penonton semestinya diposisikan untuk menatap permainan bayangan (wilayah citraan) untuk dapat memahami hakikat objek-objek inderawi (wilayah pemikiran) di belakangnya. Situasi demikian memunculkan persoalan mengenai ulang-alik pemaknaan dalam melihat bayangan. Pada alegori gua Plato, seseorang perlu beranjak menuju sisi terang untuk dapat memahami sisi yang gelap. Sebaliknya, pada kasus pertunjukan wayang kulit yang saya alami, kami perlu masuk ke dalam sisi yang gelap untuk memahami sisi yang terang.
\n<\/span><\/span><\/p>\n

Wilayah citraan, tentu saja, berkaitan dengan kekuasaan. Dalam dua kasus di atas, anggaplah, kekuasaaan berada pada rezim hukum cahaya. Pada titik ini, kita memasuki wilayah yang dimaksud Plato sebagai pemahaman formal. Secara sederhana, pemantulan cahaya adalah proses terpancarnya kembali cahaya dari permukaan benda yang terkena cahaya. Dalam sebuah percobaan yang dilakukan oleh Willebrord Snellius, didapati bahwa cahaya merambat dalam garis yang lurus. Lantas, suatu permukaan dalam sudut pantul cahaya terhalang oleh suatu benda, maka akan timbul sebuah bidang gelap yang kita sebut sebagai bayangan. Kepekatan bayangan ditentukan oleh kekuatan sinar, sementara ukurannya ditentukan oleh sudut dan jarak benda dengan sumber cahaya. Artinya, hubungan citraan dan hakikat benda ditentukan oleh hukum cahaya.
\n<\/span><\/span><\/p>\n

Serupa dengan kerja pembingkaian dalam sinema, apa yang kita sebut dengan citraan tidak bisa terlepas dari kekuasaan dalam bentuk rezim tatapan, rezim authorship, rezim wacana, rezim ideologi, bahkan rezim politik. Kencenderungan reduksionis kamera ketika mengurung realita ke dalam bingkai \u2014 sebut saja realitas citraan \u2013 sementara di waktu yang sama mengabaikan realita di luar bingkai, atau dengan kata lain, adanya pemaknaan fakta-fakta tertentu dari realita yang ada, boleh jadi justru menjelaskan sesuatu yang tidak terjelaskan pada realita di luar bingkai. Sebuah guci bermotif yang disinari cahaya akan menampilkan hakikat utuh mengenai guci tersebut, sementara ketika kita melihat bayangan di baliknya, kita mendapati bahwa hakikat benda tersebut tidak hadir secara utuh. Namun, justru pada bidang gelap tersebut memungkinkan munculnya subversi pemaknaan dari apa yang diperlihatkan oleh cahaya selagi kita memaknai hukum-hukum kekuasaan yang berlaku dalam relasi antara bayangan dan sumber bendanya. Melalui kuratorial ini saya mengajak Anda untuk berjelajah, di mana kita dapat memasuki atau malah melompat ke luar bingkai untuk dapat memaknai bagaimana bayangan bekerja dalam sebuah ruang sinema.<\/span><\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1637840626866{margin-bottom: 0px !important;}”]In the cave allegory written by Plato in Republic, Socrates asked Glaucon to imagine a group of prisoners chained in the bottom of a cave for their lifetime. Their wrists and necks were chained to the cave wall, so they could not see each other, even themselves. Behind the wall where they were chained to, a torch was beaming as it was passed by people carrying some objects. Therefore, the objects\u2019 shadows on the cave wall were perceived as the only reality for the prisoners in the cave.<\/span><\/em><\/p>\n

Socrates\u2019 presupposition reminds me of <\/span><\/em>wayang kulit[1]<\/a><\/span> shows I enjoyed as a child. <\/span><\/em>Wayang, wayangan,<\/span> or <\/span><\/em>ayang-ayang<\/span> are Javanese terms for \u201cshadow\u201d. Ideally, a <\/span><\/em>wayang<\/span> show is performed behind a large white screen, and at the back of the screen an oil lamp projects a light, in this way the spectators can see the wayang figures performed by a puppeteer <\/span><\/em>(dalang)[1]<\/a><\/span> through the shadows on the screen. The line formation of the wayang characters is divided in two; the warriors<\/span><\/em> (kesatria) <\/span>stand on the right side of the screen, and the anger-driven villains <\/span><\/em>(angkara murka)<\/span> stand on the left. Unfortunately, the wayang show that I saw did not conform to these norms since the puppeteer <\/span><\/em>(dalang) <\/span>along with the musical group were facing the audience. This position reversed the line formation of the characters. The villains stood on the right side, and the warriors on the left. A question then arises when we no longer see the realm of image nor shadow, but actually the source of image reflected by the light; it is the realm of objects. <\/span><\/em><\/p>\n

Departing from Plato\u2019s ontological framework, maybe we, as <\/span><\/span><\/em>wayang<\/span><\/span> spectators<\/span><\/span>, are among the prisoners who have managed to break free to see how the laws underlie the reality, which is represented in the shadow of the cave. Plato asserted that the genuine reality lies in the realm of thought in which sense objects is grounded, underlying our perceived sensory reality. This explains how an enlightened prisoner, once he returned to the cave, explained to the other prisoners the dimension of reality beyond what they had perceived, consequently shattering the illusion on their minds. But from the <\/span><\/span><\/em>wayang kulit<\/span><\/span> show that I have seen, I get another perspective on watching and thinking about shadows. In general, a <\/span><\/span><\/em>wayang<\/span><\/span> show is a play of dark plane created through the mechanism of light behind the screen, and the spectators watch the play of shadows (the realm of image) to understand the essence of sense object (the realm of thought) at the other side of the screen. This situation brings up a problem of the reciprocity of meaning in understanding shadows. In Plato\u2019s cave allegory, one must enter the bright side to understand the dark side. <\/span>I<\/span>n the case of the <\/span><\/span><\/em>wayang kulit<\/span><\/span> show that I saw, we must enter the dark side to understand the bright side.<\/span><\/span><\/em><\/p>\n

Of course, the realm of image is related to power. In the two cases above, we can assume that power belongs to laws of light regime. At this point, we enter the realm that Plato referred as form. Simply stated, light reflection is a process of light re-emitted from the surface of illuminated objects. In an experiment conducted by Willebrord Snellius, it was found that light travels in a straight line. When an object blocks the light, a dark plane, known as shadow, will emerge. The thickness of an image is determined by the strength of the light, while its size is determined by the angle and distance of the object from the light. Therefore, the relationship between image and object is determined by the law of light.<\/span><\/span><\/em><\/p>\n

Like the framing mechanism in cinema, an image is inseparable from power in the form of gaze regime, authorship regime, discourse regime, ideological regime, even political regime. The reductionist tendency in camera when it frames the reality \u2014 the realm of <\/span>image \u2014 yet simultaneously excludes the reality outside its frame, to put it another way, the interpretations of certain facts in the existing reality, may actually explain something that is not explained in reality outside the frame. <\/span>When a patterned ceramic jar is illuminated by light, the whole nature of the jar is revealed, but when we focus on its projected shadow, we find that the nature of the object is not present as a whole. However, its dark plane does subvert the meaning of the illuminated object, as we inquire the laws of power that apply to the relationship between the shadow and its object.\u00a0 Through this curatorial, I invite you to explore in which we can enter or even jump outside the frame to understand how the shadow works in a cinema room. <\/span><\/span><\/em><\/p>\n

[1]<\/a><\/span><\/em>Wayang<\/span><\/span> is a traditional form of shadow puppet, originating from Javanese culture. <\/span><\/span><\/em>Wayang kulit<\/span><\/span>, one of the many types of <\/span><\/span><\/em>wayang<\/span><\/span>, is specifically made of leather.<\/span><\/span><\/em><\/p>\n

[2]<\/a><\/span><\/em>Dalang<\/span><\/span> is a term for a <\/span><\/span><\/em>wayang<\/span><\/span> puppeteer.<\/span><\/span><\/em>[\/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=”1637503076230-854d8107-3735″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”10967″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637834578333{margin-bottom: 0px !important;}”]\n

Catastrophe<\/b><\/h2>\n

Filmmaker <\/em>Zbyn\u011bk Baladr\u00e1n<\/strong> (Czech Republic)
\n<\/span>International Title<\/em> Catastrophe<\/i><\/b>
\n<\/strong>Country of Production<\/em>\u00a0 Czech Republic
\n<\/strong>Language<\/em> English
\n<\/strong>Subtitle<\/em>\u00a0\u00a0–<\/strong><\/p>\n

6 min, stereo, HD, 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_1637835272375{margin-bottom: 0px !important;}”]Laku visual forensik melalui proses <\/span>scanning<\/span><\/i> citraan dari sisa-sisa artefak pasca-katastrofe yang mendistorsi citra digital itu sendiri, memunculkan narasi investigatif mengenai apa yang sebenarnya terjadi pada bidang gelap.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637835313349{margin-bottom: 0px !important;}”]A visual forensic through the scanning process of images from post-catastrophic artifacts that distort the digital image itself, arising investigative narratives on what actually happened in the dark.<\/span><\/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=”10968″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637835221049{margin-bottom: 0px !important;}”]Zbyn\u011bk Baladr\u00e1n <\/b>(Praha) adalah seorang penulis, seniman, kurator dan arsitek pameran. Ia menempuh studi sejarah seni di Departemen Filsafat, Universitas Charles, dan di studio Komunikasi Visual, Lukisan dan Media Baru di Akademi Seni Rupa, keduanya berada di Praha. Pada tahun 2001 ia mendirikan Display (tranzitdisplay 2007-17), sebuah ruang untuk seni kontemporer.<\/span><\/strong><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637835243508{margin-bottom: 0px !important;}”]Zbyn\u011bk Baladr\u00e1n<\/b> (Prague) is an author, artist, curator and exhibition architect. He studied art history in the Philosophy Department of the Charles University and in the studios for Visual Communication, Painting and New Media at the Academy of Fine Arts, both in Prague. In 2001 he co-founded Display (tranzitdisplay 2007-17), a space for contemporary art.<\/span><\/strong><\/em><\/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=”1637498826429-59df6bfd-1de6″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”10970″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637835725128{margin-bottom: 0px !important;}”]\n

Ojo Guare\u00f1a<\/b><\/h2>\n

Filmmaker <\/em>Edurne Rubio<\/strong> (Spain)<\/span>
\n<\/strong>Country of Production<\/em> \u00a0Spain
\n<\/strong>Language<\/em> English
\n<\/strong>Subtitle<\/em> \u00a0English<\/strong><\/p>\n

55 min, stereo, HD, 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_1637837504169{margin-bottom: 0px !important;}”]Sebuah upaya penelusuran ingatan kolektif tentang sejarah kelam Spanyol di bawah rezim kediktatoran Franco melalui narasi-narasi para paleontologis yang menenggelamkan diri mereka dalam kegelapan gua Ojo Guare\u00f1a. Bahwa dalam ketaksaan ruang-ruang gelap itulah segala kemungkinan tindakan-tindakan subversif dapat hadir dan dihadirkan.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637837596179{margin-bottom: 0px !important;}”]An attempt to trace collective memories of Spain’s dark history under Franco’s dictatorship through the narratives of paleontologists who immersed themselves in the darkness of the Ojo Guare\u00f1a cave. That in the imperceptibility of dark spaces, all possible subversive actions can be present and presented.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637498826798-2d9015e0-f5e0″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10971″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637843585060{margin-bottom: 0px !important;}”]Edurne Rubio <\/b><\/em>(Spanyol, 1974) adalah seniman visual yang bekerja di bidang pameran, performans, sinema dan arsitektur. Penelitiannya selalu dikaitkan dengan persepsi individu atau kolektif tentang waktu dan ruang. Karyanya dekat dengan dokumenter dan antropologi, menggunakan wawancara, gambar arsip dan penelitian tentang komunikasi lisan.<\/span><\/strong><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637843574095{margin-bottom: 0px !important;}”]Edurne Rubio<\/b><\/em> (Spain, 1974) is a visual artist working in the fields of exhibitions, performance, cinema and architecture. Her research has always been related to the individual or collective perception of time and space. Her work is close to documentary and anthropology, using interviews, archive images and research on oral communication.<\/span><\/strong><\/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_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1637508952005-8dcddf04-3f85″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”10974″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637836785661{margin-bottom: 0px !important;}”]\n

Rocky tales of occupation<\/b><\/h2>\n

Filmmaker <\/em>St\u00e9phanie Lagarde<\/strong> (France)<\/span>
\n<\/span>
\n<\/strong>Country of Production<\/em>\u00a0 France
\n<\/strong>Language<\/em> English<\/strong>
\n<\/strong>Subtitle<\/em> \u00a0–<\/strong><\/p>\n

15 min, stereo, B\/W, 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_1637836825289{margin-bottom: 0px !important;}”]Menginterpretasi ulang artefak-artefak patung, relief, dan lukisan dinding dalam lorong-lorong bawah tanah di kota Maastricht yang dimanfaatkan sebagai bengkel seni para pelajar ordo jesuit sejak abad ke-19. Keterhubungan sejarah okupasi (kolonialisme) dengan replikasi karya-karya yang mengambil ikon-ikon sebuah zaman dan lokasi ditelusuri lewat kacamata seorang pengunjung situs di abad ke-21 yang juga memanfaatkan sumber-sumber literatur internet dalam proses penyeleksian fakta-fakta yang ia gunakan untuk menginterpertasi ulang artefak-artefak pada situs tersebut. Artefak-artefak tersebut kemudian dibekukan dengan langgam-langgam kontemporer, seperti penggunaan rasio vertikal dan teknik pengambilan gambar <\/span>snapshot,<\/span><\/i> sebagai konstruksi utama filem.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637836860367{margin-bottom: 0px !important;}”]Reinterpreting artifacts of sculpture, relief, and drawing on walls of an underground passage in Maastricht that was used as an art workshop for Jesuit students in the 19th century. Connection between the history of occupation (colonialism) and the replication of works that took icons of an era and location is traced through the eyes of a visitor in the 21st century who also uses information from internet to select facts to reinterpret the artifacts on that site. These artifacts were then frozen in contemporary styles, such as by using vertical ratios and snapshot shooting techniques, as the film\u2019s main construction.<\/span><\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1532969190418-0b77954e-9992″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10975″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637837008220{margin-bottom: 0px !important;}”]St\u00e9phanie Lagarde<\/em> (1982, Toulouse, Prancis) adalah seniman visual dan sutradara yang tinggal di Paris. Karya-karyanya membahas strategi pendudukan dan organisasi ruang di seluruh sistem objek, bahasa, dan manusia. Dia memenangkan penghargaan kompetisi Internasional Short Waves 2019 (Poznan, Polandia). Karya-karyanya telah diputar di berbagai festival.<\/span><\/strong><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637836997053{margin-bottom: 0px !important;}”]St\u00e9phanie Lagarde<\/b><\/strong><\/em> (1982, Toulouse, France) is a visual artist and filmmaker based in Paris. Her works deal with strategies of occupation and the organization of space throughout systems of objects, languages, and human beings. She won the International competition award of Short Waves 2019 (Poznan, Poland). Her works have been screened in numerous festivals.<\/span><\/strong><\/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=”1637508668928-70b26d28-68d0″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”10985″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637837680985{margin-bottom: 0px !important;}”]\n

EYES \/ EYES \/ EYES \/ EYES<\/b><\/h2>\n

Filmmaker <\/em>Albert Garc\u00eda-Alz\u00f3rriz <\/strong>(Spain, Catalonia)<\/span>
\n<\/strong>Country of Production<\/em> Spain, Catalonia
\n<\/strong>Language<\/em>\u00a0–<\/strong>
\n<\/strong>Subtitle<\/em> \u00a0English<\/strong><\/p>\n

37 min, stereo, digital, color B\/W, 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_1637838154588{margin-bottom: 0px !important;}”]Secara ironis, filem ini menyejajarkan intepretasi teks akademis tentang cerpen <\/span>Prometheus,<\/span><\/i> karya Franz Kafka, dengan operasi kamera yang mengamati kerja-kerja arkeologis dalam mengarsipkan mimpi-mimpi revolusi pada artefak-artefak keruntuhan suatu rezim. Yakni tentang bagaimana sebuah sistem, kekuasaan, pengetahuan, dan hukuman saling terkait dalam sebuah siklus ganjil di dalam bingkaian sinema.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637838169014{margin-bottom: 0px !important;}”]This film juxtaposes a textual academic interpretation of Franz Kafka’s short story, <\/span>Prometheus<\/span><\/i>, and the operation of a camera that observes archaeological work in archiving dreams of revolution in the artifacts of a collapsed regime. It is about how a system, power, knowledge, and punishment are interrelated in an odd cycle in the cinema frame.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637508669529-c734b305-14f5″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10986″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637838110452{margin-bottom: 0px !important;}”]Albert Garc\u00eda-Alz\u00f3rriz Guardiola<\/b><\/strong><\/em> (1992) adalah seniman audiovisual dan arsitek dari Barcelona, Spanyol. Karya-karyanya telah dipamerkan antara lain di <\/span><\/strong>58. Biennale di Venezia<\/span> 2019, di IVAM 2018 dan di La Puntual 2018. Pada tahun 2017, ia menjadi finalis Penghargaan Internasional Inovasi Budaya CCCB (Barcelona, Spanyol, 2017).<\/span><\/strong><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637838133486{margin-bottom: 0px !important;}”]Albert Garc\u00eda-Alz\u00f3rriz Guardiola<\/b><\/strong><\/em> (1992) is an audiovisual artist and architect from Barcelona, Spain. His works have been exhibited, among others, at <\/span><\/strong>the 58. Biennale di Venezia<\/span> 2019, at IVAM 2018 and at La Puntual 2018. In 2017, he was a finalist for the CCCB\u2019s Cultural Innovation International Prize (Barcelona, SP, 2017).<\/span><\/strong><\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][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=”11000″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637838267922{margin-bottom: 0px !important;}”]Dhanurendra Pandji <\/b><\/strong><\/em>(1997, Temanggung) adalah seorang seniman yang tinggal di Jakarta. Sebagai anggota Forum Lenteng, saat ini aktif di Milisifilem Collective, 69 Performance Club, dan sudji.id. Beberapa tulisan filemnya dapat dibaca di jurnalfoogate.net.<\/span><\/strong><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637838334235{margin-bottom: 0px !important;}”]Dhanurendra Pandji <\/strong><\/em>(1997, Temanggung) is an artist based in Jakarta. As a member of Forum Lenteng, he is currently active in Milisifilem Collective, 69 Performance Club, and sudji.id. Some of his film writings are available at jurnalfoogate.net
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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":10969,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[551,344],"tags":[552,192,548],"jetpack_publicize_connections":[],"yoast_head":"\nWatching Shadows — ARKIPEL<\/title>\n<meta name=\"description\" content=\"Like the framing mechanism in cinema, an image is inseparable from power in the form of gaze regime, authorship regime, discourse regime, ideological regime, even political regime. 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