{"id":11432,"date":"2022-11-22T18:30:32","date_gmt":"2022-11-22T11:30:32","guid":{"rendered":"https:\/\/arkipel.org\/?p=11432"},"modified":"2022-11-25T17:16:14","modified_gmt":"2022-11-25T10:16:14","slug":"catch-22-international-competition-8","status":"publish","type":"post","link":"https:\/\/arkipel.org\/catch-22-international-competition-8\/","title":{"rendered":"Catch 22 – International Competition 8"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1669371352895{margin-bottom: 0px !important;}”]\n
Host<\/em> Akbar Yumni<\/strong><\/p>\n Rabu, 30 Nov 2022 \u2013 13:00<\/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_1669117673131{margin-bottom: 0px !important;}”]Dalam sinema, lanskap bisa menjadi semacam agensi dan subjek, yang secara serentak menyibak dan menjadi gambaran keseharian kehidupan masyarakat manusia yang menghuninya. Ruang bukan saja cara berada manusia, namun sebagaimana montase sinema, ruang dan manusia akan selalu saling mengandaikan. Dalam sinema modern, kita bisa membayangkan gerak montase akan ruang\u2014seakan ia sebagai subjek tanpa manusia, atau bagaimana teknologi kamera menyibak lanskap alam yang tak bisa ditangkap secara kasatmata. Namun dalam sinema kontemporer, lanskap bisa menjadi kajian ruang. Ia bisa dibayangkan sebagai produksi sosial, untuk tidak memisahkan ruang dan peristiwa sebagai sebuah spasialitas dan keadilannya.<\/span><\/p>\n Pada batas tertentu, tatapan dan penangkapan image lanskap oleh kamera digital merupakan persimpangan teknologi dan alam, seperti delay gambar ketika teknologi kamera berusaha menjangkau subjek terjauh dari bentangan ruang. Image pembuka <\/span>Landscape Suspended<\/span><\/i> (2022), serta<\/span> image-image<\/span><\/i> selanjutnya, seakan memperlihatkan persimpangan lanskap alam pegunungan dan teknologi kamera, yang berusaha menjangkau subjek dan objek sejauh mungkin. Gambar seakan melakukan gerak repetitif dari usaha teknologi menjangkau kemungkinan terjauh dari objek image: berkedut\u00a0 dan mengabur untuk mencari stabilitas <\/span>framing<\/span><\/i>. Itu artinya teknologi kamera juga tidak luput dari spasialitasnya , di mana akan selalu ada keterjangkauan dan ketidakterjangkauan secara serentak. Sinema lanskap akan selalu dalam persimpangan dan tegangan antara alam dan teknologi. Dalam konteks sinema modern, teknologi akan selalu dimaknai sebagai penyingkapan dari alam yang tak terjangkau secara kasatmata. Sementara, interogasi visual dalam film <\/span>Landscape Suspended <\/span><\/i>selalu dalam persimpangan. Subjek-subjek masyarakat nomaden di Gunung Shaho seakan berada di kejauhan di tengah bentangan lanskap. <\/span>Frame <\/span><\/i>dan <\/span>zoom out <\/span><\/i>menjadi perangkat untuk menyingkapkan pandangan terjauh dari lanskap yang berada di tegangan antara kondisi stabil dan destabilisasi secara repetitif. Mungkin itu cara sinema digital menginterogasi dinamisasi ruang dan temporalitas waktu melalui teknologi kamera.<\/span><\/p>\n Membayangkan film mural; jukstaposisinya menjadi semacam sinema montase Eisenstein dalam pandangan arsitek Bernard Tschumi yang menawarkan pandangan arsitektur tentang konsep ruang <\/span>(space)<\/span><\/i>, gerak <\/span>(movement)<\/span><\/i>, dan peristiwa <\/span>(event)<\/span><\/i> sebagai sesuatu yang independen, sehingga ketiga elemen tersebut selalu mengalami hubungan yang selalu baru. Sebagaimana hubungan satu elemen visual dengan elemen visual lainnya selalu menghasilkan makna baru dalam gerak montase, mural kota di Belo Horizonte dalam kaidah Tschumi adalah montase antara ruang kota yang fungsional dan okupasi oleh gerak mural yang sedemikian rupa, hingga menciptakan persepsi ruang yang berbeda dari keseharian warga yang melingkupinya. Mural menjadi semacam disjungsi akan ruang dan keadilan spasial dengan mengokupasi dinding publik kota. Hal ini membentuk hubungan baru dengan gerak keseharian warga, dan mampu membangkitkan peristiwa fiksi atau pengalaman sinematik tersendiri dari para seniman mural dan warga.<\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1669371273078{margin-bottom: 0px !important;}”]In cinema, landscape can turn into a kind of agency and subject, simultaneously revealing and becoming a picture of everyday life of the society that inhabits it. Space is not only a way of being for humans, but also, like cinema montage, space and humans will always presuppose one another. In modern cinema, we can imagine a montage of space\u2014as if a subject without humans, or how camera technology unveils natural landscapes that can\u2019t be captured with the naked eye. However, in contemporary cinema, landscape can be a study of space. It can be imagined as social production, not separating the spaces and events as a spatiality and its justice.<\/span><\/p>\n To a certain extent, the gaze and capture of landscape images by digital cameras are the intersection of technology and nature, such as image delay when camera technology tries to reach the farthest subject from the landscape horizon. The opening image of <\/span>Landscape Suspended<\/span><\/i> (2022), as well as the following images, seem to present the intersection of the natural landscape of mountains and camera technology, which tries to reach subjects and objects as far as possible. The image seems to be performing repetitive motions out of a technological effort to reach the farthest possibility of the image-as-object: zoom-twitching and blurring in search of framing stability. That means camera technology is also not exempt from its spatiality, where simultaneously there will always be reachability and un-reachability. Landscape cinema will always be in the intersection and tension between nature and technology. In the context of modern cinema, technology will always be understood as a revelation of nature invisible to the naked eye. Meanwhile, the visual interrogation in the film <\/span>Landscape Suspended<\/span><\/i> is always at that intersection. The subjects of the nomadic people on Mount Shaho seem to be in the middle distance of the landscape horizon. Frames and zoom-outs serve as devices for revealing the farthest view of a landscape which repetitively sits in a tension between stabilized and destabilized states. Maybe such is the way digital cinema interrogates the dynamics of space and the temporality of time through camera technology.<\/span><\/p>\n When imagining a mural film; its juxtaposition becomes a kind of Eisensteinian montage cinema in the view of architect Bernard Tschumi who offered an architectural perspective of the concepts of space, movement and events as independent things, so that these three elements experience a constantly renewed relationship. As the relationship between one visual element and another always produces new meanings in the montage\u2019s movement, the city mural arts in Belo Horizonte according to Tschumi’s principle is a montage between functional urban space and occupation by the mural\u2019s movement in such a way as to create a perception of space that is different from the everyday life of city residents. The mural becomes a kind of disjunction of space and spatial justice by occupying the city\u2019s public walls. This forms a new relationship with the daily movements of the residents, able to evoke fictional events or a separate cinematic experience from the mural artists and residents alike.<\/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=”1669120776320-42ce6192-704e”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11367″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669118456817{margin-bottom: 0px !important;}”]\n International Title\u00a0\u00a0Skin<\/strong> 75 min, stereo, 2.35:1, HD, color, 2021<\/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_1669118535760{margin-bottom: 0px !important;}”]Sebuah jukstaposisi mural kota di\u00a0 Belo Horizonte, Brazil yang berlaku sebagai rangkaian pernyataan, satir, protes, ekspresi dan lain sebagainya. Mural tersebut merupakan intervensi publik dari para seniman kota sebagai bentuk ekspresi keadilan spasial dalam memaknai kembali ruang-ruang keseharian kota mereka. Sebagaimana pada judul film, <\/span>skin<\/span><\/i> atau \u2018kulit\u2019, kita diajak menelusuri fasad dinding-dinding bangunan kota melalui jukstaposisi mural-mural. Dalam film ini, kita dapat melihat bagaimana mereka membangun disjungsi ruang sebagai sesuatu yang visual dan bahkan fiksi tentang kota mereka.\u00a0<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669118575603{margin-bottom: 0px !important;}”]A juxtaposition of city mural arts in Belo Horizonte, Brazil that acts as a series of statements, satires, protests, expressions and so on. The mural is a public intervention from city artists as a form of expression of spatial justice in redefining the everyday spaces of their city. As in the title of the film, <\/span>pele<\/span><\/i> or \u2018skin\u2019, we are invited to explore the facades of building walls in the city through a juxtaposition of murals. In this film, we can observe how they build a spatial disjunction as something visual and even fictional about their city.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1669120776766-c7bff579-5a09″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11450″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669119038652{margin-bottom: 0px !important;}”]Sutradara, penulis naskah, dan produser independen Marcos Pimentel<\/strong> telah membuat filem-filem dokumenter kreatif, telah memenangkan 92 penghargaan di festival filem nasional maupun internasional, dan telah menampilkan karyanya di lebih dari 700 festival di seluruh dunia. <\/span>Pele (Skin) <\/span><\/i>adalah filem dokumenter panjang kreatifnya yang kelima. Ia hidup dan bekerja di Belo Horizonte, Brazil.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669119081818{margin-bottom: 0px !important;}”]Director, screenwriter and independent producer, Marcos Pimentel<\/strong> has made creative documentaries, has won 92 prizes at national and international film festivals and has had his work exhibited at over 700 festivals all over the world. \u201cPELE\u201d [Skin] is his fifth full-length creative documentary. He lives and works in Belo Horizonte, Brazil.<\/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=”1669120818802-de37ad51-af08″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11467″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669121277763{margin-bottom: 0px !important;}”]\n International Title Landscape Suspended<\/i><\/b> Language –<\/em> 27 min, stereo, 16:9, HD, color & B\/W, 2022<\/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_1669121079093{margin-bottom: 0px !important;}”]Melalui pendekatan yang interogatif berdasarkan <\/span>image-image<\/span><\/i> lanskap Gunung Shaho pegunungan Zagros, Iran, kisah film ini menyibak entitas masyarakat nomaden Hvar Neshins. <\/span>Image<\/span><\/i> film ini merupakan semacam penyingkapan melalui interogasi secara visual, untuk membuka persepsi sejarah sosial-politik dan kekerasan yang melingkari masyarakat di wilayah gunung tersebut. Melalui lanskap sebagai sebuah pendekatan, film ini mencoba untuk menyibak keadilan spasial melalui pengamatan ruang hidup masyarakat nomaden Hvar Neshins, yang diidentifikasi berdasarkan kompleksitas lanskap kehidupan tempat mereka tinggal.\u00a0\u00a0\u00a0<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669121087928{margin-bottom: 0px !important;}”]Through an interrogative approach based on images of the landscape of Mount Shaho in the mountains of Zagros, Iran, this film uncovers the story of the nomadic people of the Hvar Neshins. This film\u2019s images are a kind of revelation through visual interrogation, revealing the perception of the socio-political history and violence that surround the people in the mountainous area. Through landscape as its approach, this film tries to uncover spatial justice by observing the living space of the nomadic people of Hvar Neshins, identified based on the complexity of the landscape in which they reside.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1669120819127-7ff48f3c-88ad”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11468″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669120974619{margin-bottom: 0px !important;}”]Naghmeh Abbasi<\/strong> (1986, Tehran) adalah seniman dan pembuat filem yang hidup dan bekerja di Tehran, Montreal. Ia memiliki gelar sarjana di bidang Film, Video, dan Media Terintegrasi dari Emily Carr University of Art and Design (Vancouver, Canada) dan MA di Media Studies dari The New School (New York, USA). Praktiknya menggunakan beragam bentuk, mulai dari fotografi, video, instalasi, hingga filem dokumenter\/eksperimental.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669121010760{margin-bottom: 0px !important;}”]Naghmeh Abbasi<\/strong> (b.1986, Tehran) is an artist and filmmaker who lives and works in Tehran and Montreal. She Holds a bachelor\u2019s degree in Film, Video and Integrated media from Emily Carr University of Art and Design (Vancouver, Canada) and MA in Media Studies from The New School (New York, USA). Her practice has taken different forms from photography, video and installation to documentary\/experimental film.<\/span><\/p>\n[\/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=”5402″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669118895685{margin-bottom: 0px !important;}”]Akbar Yumni, <\/b>sempat menjalani pendidikan di Universitas Muhammadiyah Malang dan STF (Sekolah Tinggi Filsafat) Driyarkara, Jakarta. Ia salah seorang anggota Forum Lenteng, dan salah seorang kurator\u00a0 di ARKIPEL – Jakarta International Documentary and Experimental Film Festival dari 2013-2018. Pada tahun 2015, ia menginisiasi dan menulis di www.jurnalfootage.net. Ia mengikuti\u00a0 Curator Academy, Theatre Work-Goethe Institut, 24-28 Januari 2018 di Singapura. Meraih Hibah Seni Kelola 2021. Aktivitasnya menjadi seniman <\/span>performance<\/span><\/i> adalah melakukan <\/span>reenactment<\/span><\/i> arsip-arsip film Indonesia yang hilang di masa rezim ototarian. Beberapa karya <\/span>reenactment performance-<\/span><\/i>nya antara lain; \u201cMenonton Film Turang (1957) – Bachtar Siagian\u201d pada 2018, \u201cMenonton Daerah Hilang (1956) – Bachtiar Siagian pada 2020, \u201cMenonton Sedap Malam (1951) – Ratna Asmara\u201d pada 2021.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669118921431{margin-bottom: 0px !important;}”]Akbar Yumni<\/b> studied at University of Muhammadiyah Malang and STF (Higher Education for Philosophy) Driyarkara, Jakarta. He is a member of Forum Lenteng and one of the curators at ARKIPEL – Jakarta International Documentary and Experimental Film Festival from 2013-2018. In 2015, he initiated and contributed in www.jurnalfootage.net. He attended the Curator Academy, Theater Work-Goethe Institut, 24-28 January 2018 in Singapore. Received Hibah Seni Kelola (Kelola Art Grant) in 2021. His activity as a performance artist is reenacting Indonesian film archives that were lost during the authoritarian regime. Some of his reenactment performance works include; \u201cMenonton Turang (1957) – Bachtar Siagian\u201d in 2018, \u201cMenonton Daerah Hilang (1956) – Bachtiar Siagian in 2020, \u201cMenonton Sedap Malam (1951) – Ratna Asmara\u201d in 2021.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":" A subtle disruption to the system arises from the daily lives of people on the “periphery”, as reflected in two curated films here. Even though they do not fully agitate the dominating authorities, the “divergent model” of work, and the behaviour or response that belong to the marginalised people (outside the system) keep alive the criticism of social and economic determinants. That is perhaps the one of bromocorah’s existential trait in the society.<\/p>\n","protected":false},"author":1,"featured_media":0,"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":[618,344],"tags":[621,620,192],"jetpack_publicize_connections":[],"yoast_head":"\nPele<\/h2>\n
\nFilmmaker <\/em>Marcos Pimentel<\/strong><\/span>
\n<\/strong>Country of Production<\/em> Brazil
\n<\/strong>Language –<\/em>
\n<\/strong>Subtitle<\/em>\u00a0–<\/b><\/p>\nManzareh, Moalagh<\/i><\/b><\/h2>\n
\nFilmmaker <\/em>Naghmeh Abbasi<\/strong><\/span>
\n<\/strong>Country of Production<\/em> Iran, Canada<\/strong><\/p>\n
\n<\/strong>Subtitle<\/em>\u00a0–<\/b><\/p>\n