{"id":11226,"date":"2021-12-07T22:09:03","date_gmt":"2021-12-07T15:09:03","guid":{"rendered":"https:\/\/arkipel.org\/?p=11226"},"modified":"2021-12-07T22:09:03","modified_gmt":"2021-12-07T15:09:03","slug":"diving-in-the-dark-and-light-parts-of-a-shadow","status":"publish","type":"post","link":"https:\/\/arkipel.org\/diving-in-the-dark-and-light-parts-of-a-shadow\/","title":{"rendered":"International Competition 04: Diving in the Dark and Light Parts of a Shadow"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Menyelami Sisi Gelap dan Terang Bayangan” css=”.vc_custom_1638887576492{margin-bottom: 0px !important;}”]Perhelatan program <\/span>International Competition <\/span><\/i>4 sudah bisa diakses lewat website Arkipel sejak jam 12 siang kemarin (5\/12\/2021). Program ini menayangkan 4 filem dari lintas negara seperti Spanyol, Republik Ceko dan Perancis. Adapun 4 filem tersebut adalah <\/span>Catastrophe, Ojo Guare\u00f1a, Rocky Tales of Occupation <\/span><\/i>dan <\/span>EYES\/ EYES\/ EYES\/ EYES.\u00a0<\/span><\/i><\/p>\n

Menonton filem secara daring\u00a0 yang dihadirkan dalam program ini membutuhkan setidaknya konsentrasi dan kepekaan yang ekstra. Sebabnya, film sejenis ini yang lebih mengutamakan eksperimentasi akan lebih maksimal dinikmati di galeri seni ataupun ruangan gelap dengan layar besar. Bukan di sebuah laptop kecil dan lingkungan rumah yang memiliki distraksi setiap beberapa saat sekali.<\/span><\/p>\n

Saya menonton film ini sesuai dengan urutan kuratorial yang dimulai dengan <\/span>Catastrophe. <\/span><\/i>Filem ini disutradarai oleh <\/span>Zbyn\u00eak Baladr\u00e1n<\/b>, menghadirkan foto forensik yang dihadirkan dalam pindaian digital dari artefak-artefak kehidupan sehari-hari. Filem ini dinarasikan dalam suara yang mendeskripsikan bagaimana hubungan artefak-artefak tersebut berhubungan dengan satu sama lain atau saling berkolerasi. Filem ini hanya berdurasi 6 menit, dan menjadi “hidangan pembuka” yang pas dalam program kuratorial milik <\/span>Dhanurendra Pandji<\/b> ini.<\/span><\/p>\n

Setelah <\/span>credit roll<\/span><\/i> muncul, filem berlanjut ke <\/span>Ojo Guare\u00f1a. <\/span><\/i>Film fokus pada situs gua <\/span>Ojo Guare\u00f1a<\/span><\/i> yang ada di Spanyol. Saya kira, awalnya filem ini hanya membahas bagaimana gua ini menjadi tempat karyawisata atau keindahan alam. Namun, setelah 55 menit filem berjalan, saya kagum bagaimana pembuat fiem, <\/span>Edurne Rubio<\/b> merelasikan gua Ojo Guare\u00f1a ke konteks sosial dan politik. Awalnya filem berjalan dengan pelan; subjek filem berupa speleolog berjalan dengan pelan, narasi suara mereka juga berjalan dengan pelan. 10 menit filem berjalan, saya mendapati satu distraksi: Orang tua saya meminta membuka pagar pintu. Distraksi seperti ini sejujurnya menganggu pengalaman menonton film dengan tempo pelan seperti <\/span>Ojo Guare\u00f1a<\/span><\/i> ini.\u00a0<\/span><\/p>\n

Setelah saya membuka pagar untuk orang tua, saya lantas melanjutkan filemnya. Dari menit 10 ke 30, para paleontolog yang tidak disebutkan namanya ini menceritakan pengalaman apa saja yang pernah mereka temukan di gua ini. Sekitar tahun 60an akhir atau 70an awal, salah satu dari mereka mengatakan bahwa pernah menemukan jejak kaki menyerupai langkah kaki manusia di satu wilayah gua tersebut. Masalahnya adalah, belum ada salah satu dari mereka yang pernah masuk ke wilayah itu, dan menurut mereka, penemuan itu jauh lebih dahsyat ketimbang Neil Armstrong sebagai manusia yang pertama kali menginjakan kakinya di bulan. Selain itu, mereka juga menjelaskan tentang temuan-temuan fosil yang ada di beberapa wilayah gua.<\/span><\/p>\n

Di menit ke 31, mata saya tidak bisa menahan kantuk akibat efek baru makan siang dan tempo filem yang sangat lamban. Maka dari itu, saya untuk memutuskan untuk tidur sejenak, sekitar 10 menit. Saya menekan tombol berhenti di laptop, tidur dan beberapa menit kemudian melanjutkan filemnya. Setelah menghabiskan filemnya, saya jadi kagum bagaimana gua Ojo Guare\u00f1a ini bisa menjadi tempat diskusi secara bebas di era diktator dan bahkan tempat aman untuk para paleontolog yang memiliki pandangan politik berbeda dari diktator tersebut.<\/span><\/p>\n

Filem dilanjutkan dengan <\/span>Rocky Tales of Occupation<\/span><\/i> yang disutradarai oleh <\/span>St\u00e9phanie Lagarde<\/b>. Tuturan visual filem ini nampak seperti <\/span>slide <\/span><\/i>presentasi yang hanya menampilkan cuplikan gambar dan suara narator. Namun, esensi dari filem ini terletak di penggunaan konteks. Cuplikan foto relief, artefak dan lukisan berasal dari lorong bawah tanah kota Maastrich yang dimanfaatkan sebagai bengkel seni pelajar Ordo Jesuit sejak abad ke-19. <\/span>Suara narator yang mendeskripsikan relief, lukisan, dan peninggalan dalam gua tersebut berpadu dengan rekaman suara deruan angin dan dentuman yang masuk sebagai transisi di setiap foto. Rekaman deruan angin dan dentuman ini didesain membentuk tempo film dan menciptakan suasana seolah kita sedang berada di ruang bawah tanah itu. Cerita soal relevansi sejarah dan kolonialisme di setiap cuplikan gambar merupakan hal yang dikorelasikan oleh pembuat filem.<\/span><\/p>\n

Filem terakhir dari program kuratorial ini adalah <\/span>EYES\/EYES\/EYES\/EYES<\/span><\/i> yang disutradarai oleh <\/span>Albert Garc\u00eda-Alz\u00f3rriz Guardiola<\/b>. Narasi visual yang dihadirkan dalam filem ini sekilas mungkin terlihat acak dan tidak memiliki struktur yang jelas. Namun, jika ditelisik lebih jauh, film ini memiliki struktur yang dihadirkan secara berulang dan memiliki polanya sendiri. Hal ini bisa dilihat bagimana pembuat filem bermain dengan analogi cermin cembung sebagai penanda ruang, pengulangan getaran yang ada di lab batu, dan lain-lain. Filem ini adalah hasil interpretasi pembuat filem dari cerpen Franz Kafka yang berjudul <\/span>Prometheus<\/span><\/i>. Filem ini menggunakan kamera sebagai pengamat tentang pekerjaan arkeologis seperti patung dan artefak lainnya yang berhubungan dengan rezim dan relasi kuasa.<\/span><\/p>\n

Dhanurendra Pandji dalam catatan kuratorialnya yang berjudul <\/span>Melihat Bayangan <\/span><\/i>mengatakan ia ingin mengajak penonton untuk melihat apa yang lebih di dalam tangkapan layar kamera. Pandji menganalogikan ini dengan cerita gua Plato atau pertunjukan wayang\u00a0 tidak sesuai pakem di mana dalang duduk di pengiring musik yang ia saksikan saat kecil. Di cerita gua Plato, saat ingin melihat suatu bayangan di gua gelap, kita harus pergi ke sumber cahaya, sebaliknya di pertunjukan wayang yang ia tonton saat masih kecil, untuk melihat apa yang ada di balik terang, ia harus melihat bayangan yang gelap. Program kuratorial ini setidaknya mengajak dan mengingat kita untuk kembali melihat filem tidak hanya apa yang ada di dalam layar, namun juga “bayangan” yang ada di belakang layar tersebut. “Bayangan” ini dapat menjelma sebagai cerita pahit sejarah, trauma kolektif atau yang lain.<\/span><\/p>\n

Program kuratorial Kompetisi Internasional 4 bisa diakses di <\/span>website<\/span><\/i> Festival ARKIPEL<\/span><\/a> dari 5 Desember – 11 Desember 2021.<\/span><\/p>\n

 <\/p>\n

Terjemahan Bahasa Inggris oleh Gladyza Vanska<\/span><\/i>[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”Diving in the Dark and Light Parts of a Shadow” css=”.vc_custom_1638888479364{margin-bottom: 0px !important;}”]The International Competition 4 program has been available to access via the ARKIPEL website since 12 PM yesterday (5\/12\/2021). This program presented four international films from Spain, the Czech Republic, and France. These four films are <\/span>Catastrophe, Ojo Guare\u00f1a, Rocky Tales of Occupation <\/span><\/i>and <\/span>EYES\/ EYES\/ EYES\/ EYES.<\/span><\/i><\/p>\n

Watching films presented in this program online needs, at the very least, extra focus and sensitivity. Films of this kind, which prioritizes experimentation, would be best watched in art galleries or dark rooms with large screens. Not on a small laptop in a home environment where distractions come half of the time.<\/span><\/p>\n

I watched these films in their curatorial order, starting with <\/span>Catastrophe<\/span><\/i>. This film, which was directed by <\/span>Zbyn\u00eak Baladr\u00e1n<\/b>, presented digital scans of forensic images of artifacts from daily lives. This film was narrated to describe how the artifacts are interconnected or correlated to one another. It was only six minutes short, and became the proper \u201cappetizer\u201d in this curatorial program by <\/span>Dhanurendra Pandji<\/b>.<\/span><\/p>\n

After the credits had rolled, it was followed by the film <\/span>Ojo Guare\u00f1a<\/span><\/i>. It was centered on the cave site Ojo Guare\u00f1a in Spain. At first, I thought it would only demonstrate how this cave became a tourist attraction, or the beauty of its surrounding nature. But after it ran for fifty-five minutes, I was amazed by how the filmmaker, <\/span>Edurne Rubio<\/b>, related the Ojo Guare\u00f1a cave to social and political contexts. The film started slowly, a speleologist was seen walking slowly, the narration was also slow-paced. And ten minutes in, I was distracted: my family asked me to open the gate to our house. Honestly, this kind of distraction always interrupts my viewing experience every time I watch slow-paced films, this film for example.<\/span><\/p>\n

After I attended to my family\u2019s request, at last I continued watching. From the 10th to the 30th minute, the paleontologists, whose names were never mentioned, shared their discoveries in the cave. Since the late 60\u2019s or the early 70\u2019s, one of them said they found a print in the shape of a human foot in one of the cave areas. The thing is, not a single one of them had entered that area, and to them, the discovery was greater than when Neil Armstrong made his own footprint mark on the surface of the moon. They also discovered fossils in several areas of the cave.<\/span><\/p>\n

Entering the 31st minute, I couldn\u2019t stay awake any longer due to a post-meal drowsiness and to the very slow pace of the film. Hence, I stopped watching to sleep for awhile, around ten minutes. I pressed the stop button on the laptop, slept, and continued watching several minutes afterwards. After getting to the end of the film, I was awed by how the Ojo Guare\u00f1a cave could be a place to hold discussion forums in a dictatorial era, and even a safe space for the paleontologists to have differing views from said dictator.<\/span><\/p>\n

The film was followed by <\/span>Rocky Tales of Occupation<\/span><\/i>, directed by <\/span>St\u00e9phanie Lagarde<\/b>. The film\u2019s way of communicating looked like presentation slides which only shows clips of images and a voice narration. But the essence of the film lies in its use of context. There were clips of images of reliefs, artifacts, and paintings from an underground tunnel beneath the city of Maastrich, which was used by the student art workshop of the Jesuits in the 19th century. <\/span>The narrator’s voice describing the reliefs, paintings, and artefacts in the underground cave was combined with sounds of boom and the blowing of the wind that guides the transition between photos. These sounds were designed to form the film’s tempo and ambience, as if we were in the underground cave ourselves. The filmmakers correlated stories of each image\u2019s relevance to history and colonialism.<\/p>\n

The last film in this curatorial program was <\/span>EYES\/EYES\/EYES\/EYES<\/span><\/i>, which was directed by <\/span>Albert Garc\u00eda-Alz\u00f3rriz Guardiola<\/b>. At surface, the visual narration presented in the film might seem abstract, with no defined structure. But when seen closely, this film had a recurring structure and its own pattern. It was evident from how the filmmaker played with the convex mirror analogy as a space marker, the recurring vibration in the stone lab, and so forth. This film was the filmmaker\u2019s interpretation of Franz Kafka\u2019s short story <\/span>Prometheus<\/span><\/i>. It used camera as an observer of the archeologists\u2019 works, such as statues and other artifacts which were related to the regime and the power relations.\u00a0<\/span><\/p>\n

Dhanurendra Pandji, in his curatorial note titled <\/span>Watching Shadows<\/span><\/i>, stated he wanted to invite the audience to see what goes beyond what was captured on camera. Pandji made an analogy between this and the <\/span>Plato\u2019s Cave<\/span><\/i> story, or a Wayang show he watched as a kid which did not abide to the convention, with the <\/span>dalang<\/span><\/i> (meaning: puppet master) sitting among those in the orchestra. In <\/span>Plato\u2019s Cave<\/span><\/i>, when you want to see shadows in a dark cave, you would have to go to the light source first, whereas in a Wayang show he watched as a kid, to see what goes beyond the light, you would have to see the dark shadows first. This curatorial at least invites and reminds us to see not only what is on the screen but also the shadow behind it. This shadow can assume the form of a bitter history, a collective trauma or something else.<\/span><\/p>\n

The International Competition 4 curatorial program can be accessed on the <\/span>Festival ARKIPEL<\/span><\/a> website from December 5th to 11th, 2021.<\/span><\/p>\n

 <\/p>\n

English translation by Gladyza Vanska<\/span><\/i>[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”11236,11235,11234,11237″ img_size=”large”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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Peserta Lokakarya Kritik Film 2020 Festival Film Dokumenter x Cinema Poetica, dan Akademi ARKIPEL 2020. Tumbuh bersama komunitas film di Pekanbaru. Pernah jadi salah satu anggota komunitas film Sinelayu dan juru program di Palagan Films. Saat ini tengah menyelesaikan studi Ekonomi Islam di UII Yogyakarta.   Galih Pramudito is the founder of Mania Cinema\u2014a collective which writes film reviews and aims to spread information on cinema to the widest audience. A participant of Film Critique Workshop 2020 held by Festival Film Dokumenter x Cinema Poetica, and Akademi ARKIPEL 2020. He grew with film collectives in Pekanbaru. He had been a member of Sinelayu film collective and a programmer in Palagan Films. 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