{"id":11023,"date":"2021-11-25T21:49:48","date_gmt":"2021-11-25T14:49:48","guid":{"rendered":"https:\/\/arkipel.org\/?p=11023"},"modified":"2021-12-05T18:02:04","modified_gmt":"2021-12-05T11:02:04","slug":"a-visit-by-a-foreign-guest","status":"publish","type":"post","link":"https:\/\/arkipel.org\/a-visit-by-a-foreign-guest\/","title":{"rendered":"A Visit by A Foreign Guest"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1637844011699{margin-bottom: 0px !important;}”]\n

A Visit by A Foreign Guest<\/b><\/strong><\/span>
\nSebuah Lokasi yang Kedatangan Tamu Asing<\/b><\/em><\/span><\/h1>\n

Host: Pingkan Polla<\/strong><\/p>\n

December 5th – 11th, 2021 | festival.arkipel.org
\nSaturday, December 5th, 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_1637845233381{margin-bottom: 0px !important;}”]Konon, kamera dapat mengungkap kenyataan yang senyata-nyatanya ada. Kamera, dengan kaidah-kaidah teknologisnya, memiliki kekuatan untuk menyorot dan merepresentasikan kenyataan. Dalam konteks filem dokumenter, kaidah ini sangat dijunjung tinggi. Bahwa kamera harus menampilkan kembali realitas yang ada dalam kehidupan. Namun, kehadiran kamera juga dapat memberi jarak pada realitas lokasi yang disorot sehingga apa yang seharusnya berjalan apa adanya menjadi ada apanya karena hari ini semua orang sadar bahwa kamera memproduksi representasi.<\/span><\/span><\/p>\n

Saya membayangkan bahwa kehadiran kamera di sebuah lokasi layaknya tamu asing yang rentan. Memang, kita telah sampai pada era ketika kamera telah menyelip di kantong-kantong. Namun, kita tidak bisa mengesampingkan fakta bahwa kamera ternyata harus berjuang untuk dapat masuk ke dalam sebuah lokasi dan menyorot kenyataan yang senyata-nyatanya ada. Kerja kamera mewakili bagaimana cara tamu asing menyusup ke tubuh lokasi. Sang tamu asing menyusuri lanskap melalui kisah-kisah yang mengantarnya untuk masuk lebih jauh. Sebagai tamu, ia menyorot lokasi terus-menerus, membidik sang tuan rumah agar menunjukan kisahnya yang paling benar, sambil menjunjung tinggi kaidahnya. Sampai akhirnya kehadiran sang tamu dipertanyakan oleh lokasi: jika kehadiran sang tamu asing, atau kamera, dapat memberi jarak pada lokasi, maka sejauh mana filem dapat merepresentasikan kenyataan lokasi yang sesungguhnya?<\/span><\/span><\/p>\n

Kemudian sang tamu melanjutkan penjelajahannya. Kali ini sang tamu memilih untuk berbaur dan menyerahkan dirinya kepada sang tuan rumah, menjadikan dirinya sebagai sebuah permainan yang tidak menakutkan sambil terus membidik. Demi menemukan kenyataan, sang tamu asing harus digunakan bukan dengan cara sebenarnya, cara yang menjunjung tinggi keagungan kaidahnya. Atau dengan kata lain, ia harus dipakai dengan cara yang kultural ketimbang dengan logika teknisnya. Akhirnya, sang tuan rumah memperlakukan tamu asing dengan tidak tunduk pada kaidah teknologisnya, melainkan dengan cara yang horizontal dan desentral yang dimiliki sang lokasi. Hal ini dapat mengantarkan kita untuk berspekulasi bahwa lokasi, secara egaliter, sedang menyorot balik sang tamu asing yang sudah tak berjarak lagi dan menjelma menjadi pengetahuan lokasi.<\/span><\/span><\/p>\n

Filem-filem yang ada pada kuratorial ini menawarkan beberapa gambaran mengenai metode filem dokumenter dalam menguak kenyataan dengan menunjukkan bagaimana kamera memperlakukan dirinya pada sebuah lanskap sosial, serta bagaimana sang lokasi merespon kedatangan sang tamu asing yang menyorot dirinya. Kita dapat melihat berbagai perlakuan lokasi terhadap kamera yang berjuang untuk menguak realitas dan kamera yang menyerahkan dirinya pada lanskap sosial. Lokasi, dengan kelengkapan pengetahuannya, justru menyoroti balik keusangan kaidah teknologis yang selalu berlaku agung.<\/span><\/span><\/p>\n

Berangkat dari kedua filem tersebut, saya menemukan bahasan menarik bahwa kamera tidak akan pernah bisa sepenuhnya melepaskan diri dari kaidah-kaidah teknologis. Namun ia dapat membiarkan dirinya untuk dipakai sesuai dengan pengetahuan lokasi yang telah mapan pada tubuh-tubuh lokal. Saat kamera, yang mempertahankan kaidahnya, keras kepala menembus masuk ruang-ruang lokasi yang paling dalam, demi menyorot kenyataan yang sebenar-benarnya, ia menjadi penyelundup dan akan memilih untuk berhenti saat dibenturkan dengan persoalan etis. Lain halnya saat ia menyerahkan dirinya untuk digunakan oleh tangan-tangan egaliter, kepada lokasi yang menjadikan kamera sebagai permainan hingga sampai pada titik pertemuan dengan harta karun pengetahuan. Kita dapat berspekulasi bahwa kamera menjadi tidak gagah di hadapan sebuah lokasi yang memiliki kemampuan untuk menyorot balik. Sang tamu asing harus mempercayai bahwa lokasi memiliki caranya sendiri untuk menguak kenyataannya, yang diungkapkan oleh tangan-tangan horizontal yang setara dan desentral.<\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1637845022998{margin-bottom: 0px !important;}”]It has been said that a camera can reveal the actual truth within reality. A camera, with its technological principles, has the power to highlight and represent reality. This principle is widely upheld in documentary films \u2014 that a camera must be able to redisplay the reality of life. But the presence of camera can also make the reality of its location become distant. The supposedly raw reality of the location now become the reality that has been interfered, since everyone are aware that the camera produces representation. <\/span><\/span><\/p>\n

I imagine a camera in a location as a vulnerable foreign guest. Indeed, we have arrived in the era when cameras can be slipped into our pockets. However, we cannot rule out the fact that a camera struggles to get into a location and to record actual realities. The work of camera represents how a foreign guest infiltrates a location. The guest explores the landscape through the stories that has been leading it to enter further. As it stays true to its so-called principles, it constantly shoots the location in the hope that the host will eventually reveal a truest story. This is up to a point where the location itself questions the presence of the foreign guest: if the presence of the guest, or the camera, can create a distance, then to what extent can film represent the truth of the location?
\n<\/span><\/span><\/p>\n

Then the guest continues the journey. This time, the guest chooses to mingle and surrender to the host, posing as a harmless player in a game while continuing to shoot. To discover the reality, the foreign guest must not be used in the same way that follows its grand principles. In other words, it must be used in a cultural way, as opposed to its technical logic. At last, the host treats the foreign guest not according to its technological norms, but in a horizontal, decentralized way according to the location. This can lead us to speculate that the location, in an egalitarian manner, is gazing back at the foreign guest who is no longer distant and has now transformed into a local knowledge.<\/span><\/span><\/p>\n

The films in this curatorial offer a glance to the various methods of documentary film in revealing the truth by demonstrating how a camera acts in a social landscape and how the locations in these films respond to the arrival of the foreign guest who puts them in a spotlight. We can see the different ways the locations treat a camera who struggles to reveal the truth and surrenders itself to the social landscape. The location with all the knowledge inscribed in it unveils the obsolescence of the grand technological principles.<\/span><\/span><\/p>\n

Departing from these two films in this curatorial, I found an interesting point: a camera can never completely break away from its technological principles, but it can allow itself to be used according to the local knowledge inscribed in local bodies. When a camera that stubbornly maintains its principles and penetrates the deepest space to highlight the true nature of reality, it turns into a smuggler; and once confronted with ethical issues, it will choose to stop its actions. It is different when a camera surrenders to egalitarian hands, to a location that turns this encounter into a game, up to a point where the camera discovers the treasure trove of knowledge. We can speculate that the camera turns modest when it faces a location capable of gazing back. The foreign guest must believe that the location has its own way of uncovering the truth, which is expressed by the equal and decentralized horizontal hands.
\n<\/span><\/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=”1637503076230-854d8107-3735″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11028″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637846098349{margin-bottom: 0px !important;}”]\n

\u0641\u0644\u0648\u0643\u0633 (Flox)\u00a0<\/b><\/strong><\/h2>\n

Filmmaker <\/em>Hady Mahmoud<\/strong> (Egypt)
\nInternational Title<\/em> Flux<\/strong>
\n<\/span>Country of Production<\/em>\u00a0 Egypt
\n<\/strong>Language<\/em> Arabic<\/strong>
\n<\/strong>Subtitle<\/em> \u00a0English<\/strong><\/p>\n

\u00a045 min, stereo, digital, 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_1637847576481{margin-bottom: 0px !important;}”]Tamu asing yang mendengar bisingnya kerumunan.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637847608909{margin-bottom: 0px !important;}”]Foreign guest who hear the noises of the crowd.<\/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=”11029″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637846446153{margin-bottom: 0px !important;}”]Hady Mahmoud<\/em> (1988, Mesir) lulus dari Fakultas Sejarah Sastra pada tahun 2010. Setelah itu, ia mulai belajar penyutradaraan filem di institut sinema Kairo pada tahun 2011. Sejak tahun 2014, Hady bekerja sebagai Asisten Sutradara. Dia terinspirasi oleh <\/span>cin\u00e9ma verit\u00e9<\/span><\/i><\/em> dan <\/span>Flox<\/span><\/i><\/em> adalah filem debutnya<\/span>.<\/span><\/em><\/b><\/strong><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637846887944{margin-bottom: 0px !important;}”]Hady Mahmoud<\/b><\/strong><\/em> (1988, Egypt) graduated from the Faculty of Literature History Department in 2010. After that, he started studying film directing in the high cinema institute of Cairo in 2011. Since 2014, Hady worked as Assistant Director. He was inspired by <\/span><\/b><\/strong>cin\u00e9ma verit\u00e9<\/span> and <\/span>Flox<\/span> is his debut film.<\/span><\/b><\/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=”1637498826429-59df6bfd-1de6″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11031″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637847959838{margin-bottom: 0px !important;}”]\n

Anak Merak<\/b><\/h2>\n

Filmmaker <\/em>Saleksa Srengenge <\/strong>(Indonesia)
\n<\/span>International Title<\/em> Anak Merak
\n<\/strong>Country of Production<\/em> \u00a0Indonesia
\n<\/strong>Language<\/em> Madurese, Javanese
\n<\/strong>Subtitle<\/em> \u00a0English<\/strong><\/p>\n

52 min, stereo, 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_1638702091251{margin-bottom: 0px !important;}”]Filem menyoroti lanskap yang menyorot balik.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1638702116334{margin-bottom: 0px !important;}”]The film captures the landscape that gazes at it in return.
\n<\/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=”11030″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637848207896{margin-bottom: 0px !important;}”]Saleksa Srengenge<\/em> (Malang, 1996) completed his studies majoring in Television and Film at the University of Jember. His works focus on documentary filmmaking about wildlife and social issues<\/span>.<\/span><\/b><\/strong><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637848269120{margin-bottom: 0px !important;}”]Saleksa Srengenge<\/b><\/strong><\/em> (Malang, 1996) completed his studies majoring in Television and Film at the University of Jember. His works focus on documentary filmmaking about wildlife and social issues.<\/span><\/b><\/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_text_separator title=”About the Host” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”10803″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637851677356{margin-bottom: 0px !important;}”]Pingkan Polla <\/b><\/strong><\/em>(lahir 1993, Magelang)<\/span><\/b><\/strong>menamatkan studinya di Fakultas Ilmu Sosial dan Politik, Universitas Indonesia. Dia adalah seorang seniman dan manajer program 69 Performance Club (performanceart.id). Karya performans Pingkan berfokus pada studi tubuh, media sosial, dan studi performans di ranah privat hingga publik. Pada tahun 2019, ia mengikuti program residensi pada festival Bangsal Menggawe di Pemenang, Lombok Utara, dan melakukan penelitian tentang persimpangan antara seni pertunjukan dan seni performans yang dimulai dari ruang privat ke ruang publik. Pada tahun 2021, ia menguratori Makassar Biennale dan melanjutkan studinya di Royal Academy of Fine Arts (KASK & Conservatorium), Ghent, Belgia<\/span><\/b><\/strong>.<\/span><\/b><\/strong><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637851712048{margin-bottom: 0px !important;}”]Pingkan Polla<\/i><\/b><\/strong><\/em> (b. 1993, Magelang) Bachelor of Science, University of Indonesia \u2013 Faculty of Social and Political Science. She is an artist and the program manager of 69 Performance Club (performanceart.id). Her performance works focus on body studies, social media, and studies of performance in the private to the public sphere. In 2019, she followed a residency program in the festival of Bangsal Menggawe in Pemenang, North Lombok, and conducted research on the intersection between performing art and performance art started in private space to public space. In 2021, she curated the Makassar Biennale and continue her study in the Royal Academy of Fine Arts (KASK & Conservatorium), Ghent, Belgium<\/span><\/b><\/strong>.<\/span><\/strong>
\n<\/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":11027,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"A Visit by A Foreign Guest","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":"\nA Visit by A Foreign Guest — ARKIPEL<\/title>\n<meta name=\"description\" content=\"I imagine a camera in a location as a vulnerable foreign guest. 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