{"id":11033,"date":"2021-11-26T00:51:49","date_gmt":"2021-11-25T17:51:49","guid":{"rendered":"https:\/\/arkipel.org\/?p=11033"},"modified":"2021-11-26T00:59:27","modified_gmt":"2021-11-25T17:59:27","slug":"tableaux-vivants-in-the-post-era","status":"publish","type":"post","link":"https:\/\/arkipel.org\/tableaux-vivants-in-the-post-era\/","title":{"rendered":"“Tableaux Vivants” in the Post- Era"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1637852891396{margin-bottom: 0px !important;}”]\n

“Tableaux Vivants” in the Post- Era<\/b><\/strong>
\n“Tableaux Vivants” dalam Era Pasca<\/em><\/h1>\n

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

November 28th – December 4th, 2021 | festival.arkipel.org
\nSaturday, December 4th, 2021 | 13:00 | 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_1637858063394{margin-bottom: 0px !important;}”]\n

I<\/h3>\n

Seorang wanita bertopi frigia dengan dada dan kaki telanjang bergerak maju melewati barikade dan tumpukan mayat sambil satu tangannya mengacungkan bendera triwarna yang menjadi bendera nasional setelah Revolusi Perancis 1830. Senapan lontak bermata sangkur tergenggam di tangannya yang lain. Ia memimpin para pejuang revolusi dari berbagai lapisan sosial yang diwakili oleh ragam penutup kepala; seorang borjuis dengan topi silinder, para pekerja dengan baret, dan para pelajar mengenakan topi bicorne<\/i> tradisional. Ketika kita mengalihkan tatapan ke sudut kanan gambar, tertancap kokoh bendera triwarna lainnya di atas menara Notre Dame yang menandakan suatu episode kejatuhan monarki Bourbon untuk yang kedua kalinya. Niscaya, bila kita mengetik kata kunci \u201cRevolusi Perancis 1830\u201d atau \u201cRevolusi Juli\u201d dalam mesin pencari internet, dengan mudah kita akan menemui sebuah adegan statis\u2014disebut juga tableaux vivants<\/i>\u2014yang menggambarkan kompleksitas gejolak politik Perancis yang terjadi di tengah ide-ide pencerahan. Adegan statis ini hadir dalam bentuk sebuah lukisan berjudul Liberty Leading the People<\/i> karya Eugene Delacroix.<\/span><\/span><\/p>\n

Ide-ide pencerahan mengawali proyek besar manusia untuk membebaskan diri dari nilai-nilai terberi dengan menciptakan lanskap dunia baru sebagai objek yang dapat diteliti dan dimodifikasi. Sebagaimana personifikasi konsep kebebasan pada sosok perempuan dalam lukisan Liberty Leading the People <\/i>yang harus berdiri di atas bangkai-bangkai revolusi, janji-janji pembebasan pada gilirannya juga menuntut dominasi yang satu atas yang lainnya.<\/span><\/span><\/p>\n

Lantas, seperti yang dapat kita duga, sensitivitas wacana dominan yang menekankan rasionalitas untuk mencapai kebenaran objektif telah mematikan sensitivitas terhadap kebersituasian kebenaran di sisi lainnya. Kenyataan ini memicu munculnya era \u201cpasca\u201d sebagai gelombang penundaan terhadap wacana yang tengah mendominasi dengan mengalihkan perhatiannya pada narasi-narasi desentral. Imbasnya adalah terbukanya pintu bagi kebenaran yang terikat pada waktu dan lokasi tertentu untuk mengungkapkan diri.<\/span><\/span><\/p>\n

II<\/h3>\n

Istilah tableaux vivants<\/i> sendiri bisa diartikan secara sederhana sebagai sebuah gambar adegan statis dalam ukuran besar yang digantung pada permukaan dinding demi memberikan pengalaman konfrontatif kepada penontonnya. Artinya, ia terikat dalam ruang tertentu secara utuh sebagai sebuah objek yang membahasakan dirinya sendiri.<\/span><\/span><\/p>\n

Kita bisa beranggapan bahwa lanskap dunia hari ini adalah lanskap artifisial ketika kita melihat struktur imajiner dalam sebuah masyarakat sebagaimana struktur sosial dalam lukisan-lukisan tableaux vivants<\/i>. Keduanya sama-sama dibangun dari proyek penelitian dan pemodifikasian yang dilakukan oleh subjek atau manusia itu sendiri terhadap objek\u2014entah kanvas atau alam\u2014sehingga menciptakan sebuah lanskap dunia yang terbingkai. Laku pemisahan subjek dan objek ini juga yang memungkinkan kita untuk melakukan penelitian bagaimana lukisan Liberty Leading the People<\/i> dalam membentangkan struktur masyarakat Perancis pada sebuah periode revolusinya.<\/span><\/span><\/p>\n

Di era \u201cpasca\u201d yang seringkali kita sebut sebagai era kontemporer, sebuah gambar tampaknya hadir secara lebih demokratis ketika gambar yang diproduksi atau direproduksi oleh medium perekam dapat memberikan pandangan yang lebih personal. Hal tersebut merupakan konsekuensi dari karakteristik medium perekam itu sendiri yang dapat berperan sebagai substitusi mata yang tidak hadir di ruang tertentu. Sinema memungkinkan bentangan kompleksitas lukisan Liberty Leading the People<\/i> dihadirkan dalam narasi-narasi partikular, misalnya saja sisa-sisa pertempuran dalam patahan kayu yang berserakan atau bendera triwarna di atas menara Notre Dame yang hanya bisa dilihat melalui pembesaran.<\/span><\/span><\/p>\n

Seperti kerja-kerja seni kontemporer, bahasa sinema tidak berangkat dari hasrat penciptaan dari sebuah kanvas kosong, alih-alih ia berangkat dari reapropriasi fragmen realita yang tertangkap dalam bingkai. Dalam konteks kuratorial ini, bila struktur masyarakat modern dapat dibentangkan dalam lanskap utuh yang dapat membahasakan dirinya sendiri, bahasa sinema mengurai struktur masyarakat modern dengan menelusup ke dalam rongga-rongga di antaranya melalui laku pembesaran terhadap narasi-narasi partikular sehingga menghadirkan interupsi terhadap dominasi wacana modern. Pada akhirnya, sinema memberikan pemahaman tertentu mengenai kompleksitas dunia kita hari ini melalui kacamata kekontemporerannya<\/span>.<\/span><\/i><\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1637858027360{margin-bottom: 0px !important;}”]\n

I<\/h3>\n

A woman in a phrygia hat\u2014bare-chested and barefoot\u2014moves forward through a barricade and heap of corpses, her one hand raises a three-colored flag which became France\u2019s national flag after the 1830 French Revolution. A bayonet is in her other hand. She leads the revolutionary fighters from various social classes symbolized by the many kinds of headdresses they wore; a bourgeois in a top hat, the workers in their berets, the students in their traditional bicornes. Shifting our glance to the right corner of the frame, we see another three-colored flag perched on top of the Notre Dame tower, symbolizing an episode of the fall of the Bourbon monarch for the second time. When we type the keyword \u201c1830 French Revolution\u201d or \u201cThe July Revolution\u201d on the Internet\u2019s search engine, we can easily find a static scene\u2014also known as <\/span>tableaux vivants<\/span><\/i>\u2014depicting the complexity of France\u2019s political turmoil amidst the spread of Enlightenment thoughts. This static scene is present in the form of a painting, titled <\/span>Liberty Leading the People<\/span><\/i> by Eugene Delacroix<\/span>.<\/span><\/p>\n

Enlightenment ideas pioneered humanity\u2019s megaprojects that liberate themselves from given values by treating the landscape of a new world as an object that can be scrutinized and modified.<\/span> Just like the personification of liberty on the figure of a woman in <\/span>Liberty Leading the People<\/span><\/i> who had to stand upon the carcasses of revolution; when the time comes, promises of freedom demand the domination of one above the others<\/span>.<\/span><\/p>\n

Predictably, the dominant discourse that highlights the importance of rationality to arrive at objective truth has extinguished our sensitivity towards the situational context of that truth. This reality prompted the rise of the \u201cpost-\u201d era as a wave of deferment to the dominating discourse by focusing instead on the decentralized narratives. This enables the reveal of truths specific to a certain time and location.<\/span><\/span><\/p>\n

II<\/h3>\n

The term <\/span>tableaux vivants <\/span><\/i>itself can be described roughly as a large picture of a static scene hanging up on a wall, facing its audience in a confrontative manner. Therefore, it is tied into a certain room as a whole, as an object that is able to express itself<\/span>.<\/span><\/p>\n

We can assume that the landscape of our world today is artificial when the imaginary structure in a society is seen as social structures in <\/span>tableaux vivants<\/span><\/i> paintings. Both were built from research and modifications of objects by a subject, human itself \u2014whether it is on canvas or in nature \u2014 creating a framed landscape of the world. Separating the subject from its object enables us to scrutinize the performativity in <\/span>Liberty Leading the People<\/span><\/i> that unfolds France\u2019s societal structure in a period of revolution<\/span>.<\/span><\/p>\n

In this \u201cpost\u201d era, our contemporary time, a picture can appear more democratic as it is produced or reproduced through a personal perspective by a recording apparatus. This is because of the characteristic of the apparatus itself. It acts as a substitute for eyes that are not present in a certain space. Cinema enables <\/span>Liberty Leading the People<\/span><\/i> to be broken down in particular narratives, for example, the remains of battle in the form of scattered broken woods; or the three-colored flag upon the Notre Dame that can only be seen through magnification.<\/span><\/span><\/p>\n

Similar to how contemporary art works, the language of cinema does not come from the desire to create something out of a blank canvas; rather, it comes from an act of reappropriating fragments of reality in a frame. In the context of this curatorial, if the structure of modern society can be unfolded in a whole landscape that can express itself, the language of cinema unfolds the structure of modern society by infiltrating its cavities. This is done through magnification of particular narratives, which interrupts the domination of modern discourse. In the end, cinema offers a certain understanding of the complexity of our world today through its contemporary point of view.<\/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=”11036″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637858253754{margin-bottom: 0px !important;}”]\n

H\u00e3y t\u1ec9nh th\u1ee9c v\u00e0 s\u1eb5n s\u00e0ng<\/b><\/h2>\n

Filmmaker <\/em>Pham Thien An<\/strong> (Vietnam)<\/span>
\n<\/span>International Title<\/em> Stay Awake, Be Ready<\/b>
\n<\/strong>Country of Production<\/em>\u00a0 Vietnam, South Korea, USA
\n<\/strong>Language<\/em> Vietnamese
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

\u00a014 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_1637858320295{margin-bottom: 0px !important;}”]Dalam satu tarikan napas, kamera menghimpun lapisan-lapisan peristiwa yang terjadi di sudut kota Saigon menjadi kesatuan lanskap persoalan lokasi yang kompleks. Tumpang-tindih peristiwa yang terkesan kacau berpilin dengan kehadiran aparatus perekam dengan penggunaannya yang personal.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637858351014{margin-bottom: 0px !important;}”]In one breath, the camera compiles layers of events happening at a corner of Saigon into a landscape of complex local problems. The seem-to-be chaotic events interweave with the personal use of the recording apparatus.<\/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=”11038″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637858615655{margin-bottom: 0px !important;}”]Pham Thien An<\/b><\/em> (Provinsi Lam Dong, Vietnam, 1989) adalah seorang sutradara, produser, dan penulis skenario film. Ia lulus dari jurusan Teknologi Informasi, Universitas Lotus, Kota Ho Chi Minh. Karya-karyanya telah diputar di berbagai festival filem internasional. Saat ini, ia sedang mengerjakan film panjang pertamanya berjudul <\/span>Inside The Yellow Cocoon Shell.<\/span><\/i><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637858644058{margin-bottom: 0px !important;}”]Pham Thien An<\/b> (Lam Dong Province, Vietnam, 1989) is a film director, producer, and screenwriter. He graduated from Information Technology at Lotus University, Ho Chi Minh City. His films have been screened in numerous international film festivals. Currently, he is working on his first feature film <\/span>Inside The Yellow Cocoon Shell<\/span><\/i>.<\/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=”11040″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637859013706{margin-bottom: 0px !important;}”]\n

Kolektyviniai sodai<\/b><\/h2>\n

Filmmaker <\/em>Vytautas Katkus<\/strong> (Lithuania)
\n<\/span>International Title<\/em> Community Garden
\n<\/strong>Country of Production<\/em> \u00a0Lithuania
\n<\/strong>Language<\/em> Lithuanian
\n<\/strong>Subtitle<\/em> \u00a0English<\/strong><\/p>\n

\u00a015 min, stereo, 1.66:1\u200b, 16 mm processed to 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_1637859062415{margin-bottom: 0px !important;}”]Sebuah komedi canggung mengenai insiden terbakarnya bangunan rumah di tengah aktivitas liburan musim panas. Indikasi kerja medium perekam dalam membingkai sesuatu \u201cyang spektakuler\u201d muncul pada retakan-retakan momentum kehadiran kamera dan pada ketakjuban tertentu terhadap peristiwa di luar keseharian yang kemudian ber-relasi dengan budaya kepenontonan<\/span>.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637859116066{margin-bottom: 0px !important;}”]An awkward comedy about a house fire incident on a summer vacation. The indication of how a recording apparatus frames a \u201cspectacular\u201d event presents itself on the cracks of moments when the camera appears and on the astonishment to an unusual event related to the spectacle culture.<\/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=”11039″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637859162659{margin-bottom: 0px !important;}”]Vytautas Katkus<\/b><\/strong><\/em> <\/b>(Vilnius, Lituania, 1991) lulus dengan gelar Sarjana Sinematografi dari Akademi Musik dan Teater Lituania. Dia memenangkan Penghargaan Sinematografer Muda Terbaik oleh Asosiasi Sinematografer Lituania pada tahun 2014 dan 2015. Sejak 2016 dia adalah anggota Asosiasi Sinematografer Lituania.<\/span><\/strong><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637859186278{margin-bottom: 0px !important;}”]Vytautas Katkus <\/b><\/strong><\/em>(Vilnius, Lithuania, 1991) graduated with a Bachelor’s Degree in cinematography from the Lithuanian Academy of Music and Theatre. He won Best Young Cinematographer Award by Lithuanian Association of Cinematographers in 2014 and 2015. Since 2016 he is a member of Lithuanian Association of Cinematographers.<\/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=”11053″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637859530745{margin-bottom: 0px !important;}”]\n

Ink in Milk<\/b><\/h2>\n

Filmmaker <\/em>Gernot Wieland<\/strong> (Austria)<\/span>
\n<\/span>International Title<\/em> Ink in Milk
\n<\/strong>Country of Production<\/em>\u00a0 Austria
\n<\/strong>Language<\/em> English<\/strong>
\n<\/strong>Subtitle<\/em> \u00a0English<\/strong><\/p>\n

\u00a013 min, stereo, digital, 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_1637859559410{margin-bottom: 0px !important;}”]Parabel yang dibangun dari memori masa kecil mengenai bagaimana institusi pendisiplinan dan produk wacana yang melekat pada bahasa dan praktik sosial sebagai aparatus kekuasaan dalam kerangka pikir <\/span>Foucauldian<\/span> mendefinisikan posisi-subjek hingga ke ranah psikologis. Melalui ragam sketsa, dalam hal ini adalah aksi pengilustrasian ide, si narator membangun impresi mengenai posisi subjek marjinal dalam sebuah sistem layaknya cairan tinta pada semangkuk susu.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637859585881{margin-bottom: 0px !important;}”]A parable of childhood memories exhibits how disciplinary institutions and products of discourse inherent in language and social practice becomes an apparatus of power in a Foucauldian framework that defines the subject-position until the psychological realm. Through a variety of sketches\u2014in this case, an act of illustrating ideas\u2014the narrator builds an impression about the position of the marginal subject in a system, like ink in a bowl of milk.<\/span><\/span>[\/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=”10793″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637859824156{margin-bottom: 0px !important;}”]Gernot Wieland<\/b><\/strong><\/em> bekerja dengan penelitian, ingatan, dan narasi. Film-filmnya menyatukan laporan sejarah dengan ingatan personal dan fakta ilmiah, elemen fiksi dan kenyataan, serta membangun rasa tentang yang ganjil, yang sebagian besar hadir dalam bentuk ironis dan absurd. Karya-karya tersebut dicirikan oleh ketenangan yang mencekam, tragis, dan puitis yang mengikuti struktur naratif asosiatif<\/span><\/strong>.<\/b><\/strong><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637859849214{margin-bottom: 0px !important;}”]Gernot Wieland<\/b><\/strong><\/em> works with research, memory and narration. His films bring together historical reports with personal recollections and scientific facts, fictional and real elements, as well as develop a sense of the uncanny, mostly in ironic and absurd forms. The works are characterized by a gripping, tragicomic, and poetic sobriety that follows associative narrative structures.<\/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=”11045″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637860036523{margin-bottom: 0px !important;}”]\n

Selected Milk Added from Reconstituted Milk Powder Whole Pasteurized Homogenized<\/b><\/h2>\n

Filmmaker <\/em>Jos\u00e9 Luis Ducid <\/strong>(Spain)
\n<\/span>International Title<\/em> Selected Milk Added from Reconstituted Milk Powder Whole Pasteurized Homogenized
\n<\/strong>Country of Production<\/em> Spain
\n<\/strong>Language<\/em> English<\/strong>
\n<\/strong>Subtitle<\/em> \u00a0English<\/strong><\/p>\n

20 min, stereo, digital, color, 2020<\/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_1637860482022{margin-bottom: 0px !important;}”]Secara sastraik, filem ini menyejajarkan strandar operasional pemasaran dengan serangkaian kisah <\/span>tragicomic<\/span><\/i> tentang rantai konsumsi sisa-sisa pertarungan ideologi kapital yang telah melewati berbagai proses pengidealan (komodifikasi) oleh tubuh-tubuh masyarakat. Narasi-narasi tersebut dipecah dalam urutan sekuensial dan disusun berdampingan dengan citra-citra yang bersifat fotografis layaknya sebuah tampilan <\/span>slide<\/span><\/i>.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637860506105{margin-bottom: 0px !important;}”]In a literary manner, this film aligns marketing operational standards with a series of tragicomic stories about the remnants of the struggle for capital ideology that are consumed by the body of society and has gone through various processes of idealization (commodification). The narratives are broken down in sequential order and arranged side by side with representative pictures.<\/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=”11044″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637860602926{margin-bottom: 0px !important;}”]Jos\u00e9 Luis Ducid <\/b><\/strong><\/em>(Buenos Aires, 1969) adalah seorang seniman multidisiplin, penyair, aktor, sutradara, dan musisi. Ia belajar filem di \u201cSchool of Image and Sound\u201d A Coru\u00f1a dan kemudian mulai menyutradarai. Berulang kali, ia menerima penghargaan sebagai penulis naskah dan sutradara filem pendek.<\/span><\/strong><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637860637056{margin-bottom: 0px !important;}”]Jos\u00e9 Luis Ducid<\/b><\/strong><\/em> (Buenos Aires, 1969) is a multidisciplinary artist, poet, actor, director, and musician. He studied cinema in the \u201cSchool of Image and Sound\u201d of A Coru\u00f1a and then began to direct. On repeated occasions, he received awards as script writer and director of short films.<\/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=”1637509380143-c20d87e4-8373″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11047″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637861296603{margin-bottom: 0px !important;}”]\n

Curupira, bicho do mato<\/i><\/b><\/h2>\n

Filmmaker <\/em>F\u00e9lix Blume <\/strong>(France)
\n<\/span>International Title<\/em> Curupira, creature of the woods
\n<\/strong>Country of Production<\/em> Mexico, France
\n<\/strong>Language<\/em> Portuguese<\/strong>
\n<\/strong>Subtitle<\/em> \u00a0English<\/strong><\/p>\n

\u00a035 min, stereo, 16:9, digital, 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_1637861371553{margin-bottom: 0px !important;}”]Melalui perangkat elektronik, filem ini berupaya melakukan pembesaran terhadap memori kolektif masyarakat Amazon dalam bentuk kepercayaan mitos si hantu penunggu hutan, Curupira. Dalam filem ini, media sebagai bingkai serpihan lokalitas dapat dibaca melalui dua lapisan. Lapisan pertama ialah bagaimana gelombang suara dengan kekuatannya yang mampu menelusup ke dalam ruang tak nampak, berperan menjembatani dua dimensi realitas secara imajinatif. Lapisan berikutnya adalah ihwal perangkat kamera dalam memberi penegasan tentang ide kelokalan dan medium representasi melalui ekspresi wajah dan layar gelap. Dengan demikian, kita dapat menggarisbawahi kerja teknologi dalam mendamaikan \u201cpemitosan\u201d dan kebenaran lokasi dengan hadir di tengah-tengah irisannya.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637861399942{margin-bottom: 0px !important;}”]Through electronic devices, this film attempts to magnify the collective memory of Amazonian society in the form of the myth of the guardian ghost, Curupira. In this film, media as a frame of the fragments of locality can be read through two layers. The first layer inquires how sound waves with their capability to penetrate invisible spaces play a role in bridging two dimensions of reality imaginatively. The second layer inquires how the camera affirms the idea of locality and medium of representation through facial expressions and dark screen. In this way, we can underline the work of technology in reconciling \u201cmythologization\u201d with locational truth by being present in the intersection between them.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637509380822-9a7e7090-c620″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11046″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637861450729{margin-bottom: 0px !important;}”]F\u00e9lix Blume<\/b><\/em> (Prancis, 1984) adalah seorang seniman bunyi dan sound engineer. Dia saat ini bekerja dan tinggal di antara Meksiko, Brasil, dan Prancis. Dia tertarik pada mitos dan interpretasi kontemporernya, dalam dialog manusia baik dengan konteks alam dan perkotaan yang dihuni, pada apa yang dapat diceritakan oleh suara-suara di luar kata-kata<\/span>.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637861472645{margin-bottom: 0px !important;}”]F\u00e9lix Blume <\/b><\/strong><\/em>(France, 1984) is a sound artist and sound engineer. He currently works and lives between Mexico, Brazil and France. He is interested in myths and their contemporary interpretation, in human dialogues both with inhabited natural and urban contexts, in what voices can tell beyond words.<\/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=”1637511374336-055b5823-038d”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11050″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637861895942{margin-bottom: 0px !important;}”]\n

Auksin\u0117s Minut\u0117s<\/b><\/h2>\n

Filmmaker <\/em>Saulius Baradinskas <\/strong>(Lithuania)
\n<\/span>International Title<\/em> Golden Minutes
\n<\/strong>Country of Production<\/em> Lithuania
\n<\/strong>Language<\/em> Lithuanian<\/strong>
\n<\/strong>Subtitle<\/em> \u00a0English<\/strong><\/p>\n

10 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_1637861926985{margin-bottom: 0px !important;}”]Tegangan yang muncul pada menit-menit krusial antara hidup dan mati seorang pria paruh baya dalam sebuah percobaan bunuh diri telah memicu rentetan adegan sebab-akibat yang menghambat arus sirkulasi massa dalam sebuah sistem yang serba terukur. Melalui susunan montase ritmis, filem ini semacam merefleksikan kepekaan masyarakat modern terhadap sistematisasi yang justru pada titik tertentu menjadi hambatan bagi dirinya sendiri.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1637861971517{margin-bottom: 0px !important;}”]The tension during the crucial minutes between life and death of a middle-aged man who attempts suicide triggers a series of chain reactions, which blocks the flow of mass circulation in a highly measured system. Through a rhythmic montage, this film reflects the sensitivity of modern society towards systematization which at a certain point becomes an obstacle for the society itself<\/span>.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1637511374710-c7fb94c8-2c39″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11049″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637862111626{margin-bottom: 0px !important;}”]Saulius Baradinskas<\/b><\/strong><\/em> <\/b>(1990) adalah sutradara film serta video komersial & musik dari Vilnius, Lituania. Saulius dikenal karena menyutradarai video musik yang sudah mendapat pengakuan di negara-negara Baltik. Dalam penghargaan video musik tahunan 2018, Saulius terpilih sebagai sutradara terbaik dan memenangkan penghargaan video musik terbaik untuk kategori penyutradaraan.<\/span><\/strong><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637862140518{margin-bottom: 0px !important;}”]Saulius Baradinskas<\/b><\/strong><\/em> (1990) is a film as well as commercial & music video director from Vilnius, Lithuania. Saulius is noticed for directing music videos that already got recognition in the Baltic states. In 2018 annual music video awards, Saulius was selected as a best director of the year and won best music video award for directing.<\/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_1637862424825{margin-bottom: 0px !important;}”]Dhanurendra Pandji <\/b><\/strong><\/em>(Temanggung, 1997) 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 jurnalfootage.net <\/span><\/strong><\/span>.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1637862451370{margin-bottom: 0px !important;}”]Dhanurendra Pandji<\/i><\/b><\/strong><\/em> (Temanggung, 1997) is an artist based in Jakarta. As a member of <\/span><\/strong>Forum Lenteng, he is currently active in Milisifilem Collective, 69 Performance Club, and <\/span><\/i>sudji.id<\/span><\/i><\/a>. Some of his film writings are available at <\/span><\/i>jurnalfootage.net<\/span><\/i><\/a><\/strong><\/em>.<\/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":11051,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"\"Tableaux Vivants\" in the Post- Era","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":"\n"Tableaux Vivants" in the Post- Era — ARKIPEL<\/title>\n<meta name=\"description\" content=\"In this \u201cpost\u201d era, our contemporary time, a picture can appear more democratic as it is produced or reproduced through a personal perspective by a recording apparatus. 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