{"id":11492,"date":"2022-11-22T22:46:44","date_gmt":"2022-11-22T15:46:44","guid":{"rendered":"https:\/\/arkipel.org\/?p=11492"},"modified":"2022-11-23T19:39:25","modified_gmt":"2022-11-23T12:39:25","slug":"catch-22-spesial-presentation-3","status":"publish","type":"post","link":"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/","title":{"rendered":"Catch 22 – Special Presentation 3"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1669196472447{margin-bottom: 0px !important;}”]\n

Dengarkan Detak Citra Kami*\u00a0 : mengurai arsip, membaurkan, ulangi<\/em>
\n<\/b><\/strong>Listen to the Beats of Our Images* : Un-archive, remix, rebeat<\/b><\/em><\/span><\/h1>\n

Host<\/em> Abhishek Nilamber & Laura Kloeckner (SAVVY)<\/strong><\/p>\n

Minggu, 27 Nov 2022 \u2013 19:00<\/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_1669140520698{margin-bottom: 0px !important;}”]Para aktivis yang berusaha untuk melawan dan menantang pembendaan** \/objektifikasi terhadap tindakan pencurian elemen-elemen dari kosmologis yang beragam, telah menegaskan sifat polisemi kata \u201crestitusi\u201d. Ini adalah sebuah taktik untuk menggugat kembalinya harkat martabat, hak, dan subjektivitas dari objek\/subjek materiel\/imateriel yang telah dicuri; dan pada saat bersamaan mendorong rehabilitasi dari objek\/subjek tersebut ke warisannya, serta memberikan kompensasi dengan reparasi atas kehilangan historis, materiel, dan spiritual yang dialami oleh kebudayaan dan masyarakat tempat asal objek tersebut.<\/p>\n

Pun dalam sinema, persoalan memandang masa lalu telah diberikan kepada segelintir orang. Upaya restitusi yang jujur atas objek\/subjek materiel\/digital yang secara kasar dicabut dari akar kosmologi spasial dan temporal untuk melayani hasrat voyeuristik, ekstraktif, akumulatif, dan dominan berarti merestitusi kondisi sosial, materiel, ekonomi, dan spiritual yang memungkinkan semiotika ini terwujud sejak awal. Melalui proyek United Screens yang diadakan oleh SAVVY Contemporary, kami mencari jaringan sublim yang mengubah dinamika ini, merujuk pada gerakan sinema tropis yang mempreteli pengaruh asing dan membuat mereka masuk dalam bingkaian ulang narasi sebagai subjek. Penarikan
\nsampel arsip adalah sebuah alat yang kuat untuk mensubversi, mengomentari atau sebaliknya merekontekstualisasi fragmen dari filem-filem yang mungkin akan kita abaikan.<\/p>\n

Dilema catch-22 dalam sistem sirkulasi filem internasional yang asimetris telah menjadi kecemasan United Screens selama beberapa tahun terakhir. Melalui filem-filem pendek ini kita berusaha untuk mencari titik tengah dari pertanyaan sirkulasi, subversi, dan baur-ulang budaya sebagai alat untuk melanggengkan, melestarikan, dan mengklaim imajinasi; menjadi arsip yang dalam dirinya sendiri berperan sebagai upaya restitusi terhadap memori sinematik dan seterusnya.<\/p>\n

United Screens digagas oleh SAVVY Contemporary, berkolaborasi dengan Wekalet Behna (Mesir), AVEC \u2013 L’Association de Volontariats, \u00c9change Culturel et Action des Jeunes (Tunisia), NAAS \u2013 Network of Arab Alternative Screens (Lebanon), Estaci\u00f3n Terrena (Colombia), dan ARKIPEL – Jakarta International Documentary and Experimental Film Festival (Indonesia). Proyek ini didukung oleh AFAC – Arab Fund For Arts and Culture.<\/p>\n

* Judul diambil dari filem karya Maxime Jean-Baptiste dan Audrey Jean-Baptiste yang tergabung
\ndalam program ini.
\n** \u2018Pembendaan\u2019 diterjemahkan dari thingification di artikel asli. Dalam penggunaan kata ini, penulis
\nmerujuk kepada Discours sur le colonialisme karya Aim\u00e9 C\u00e9saire.
\nhttps:\/\/libcom.org\/files\/zz_aime_cesaire_robin_d.g._kelley_discourse_on_colbook4me.org_.pdf<\/h6>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1669140818202{margin-bottom: 0px !important;}”]Activists who have been resisting and challenging the thingification** \/objectification of the stolen elements from varied cosmologies, have assertively positioned the polysemy of the word \u2018restitution\u2019. It is a strategy to demand, on one hand, the resumption of dignity, rights and subjectivity of these stolen material\/ immaterial objects\/subjects; and at the same time push for the rehabilitation of these objects\/subjects to their heirloom and to compensate with reparation for the historical, material and spiritual losses endured by the very cultures and peoples to whom these objects\/subjects belong to.<\/p>\n

For cinema too, the question of beholding the past has been granted into the hands of a few. An honest restitution of these material\/digital objects\/subjects, which were rudely uprooted from their spatial and temporal cosmologies to serve voyeuristic, extractive, accumulative and dominative desires, means to restitute the social, material, economic and spiritual conditions that enabled these semiotics to be manifested in the first place. With the project United Screens convened by SAVVY Contemporary we look for sublime networks altering these dynamics, taking cue from the tropical cinema movements, cannibalising foreign influences making them subject to reframed narratives. Archival sampling is a powerful tool to subvert, comment on or otherwise re-contextualise fragments of films we might otherwise take for granted.<\/p>\n

The catch-22 of the highly asymmetrical international film circulation system has concerned the project United Screens for the past years. With this short film series we seek to centre the question of circulation, subversion and remix cultures as tools to preserve, reserve and claim imaginaries; becoming archives in and of themselves as restitutes of cinematic memory and beyond.<\/p>\n

United Screens is conceived by SAVVY Contemporary in collaboration with Wekalet Behna (Egypt), AVEC \u2013 L’Association de Volontariats, \u00c9change Culturel et Action des Jeunes (Tunisia), NAAS \u2013 Network of Arab Alternative Screens (Lebanon), Estaci\u00f3n Terrena (Colombia), and ARKIPEL – Jakarta International Documentary and Experimental Film Festival (Indonesia). The project is supported by AFAC – Arab Fund For Arts and Culture.<\/p>\n

* From the title of a film by Maxime Jean-Baptiste and Audrey Jean-Baptiste in this program.
\n** Aim\u00e9 C\u00e9saire. Discours sur le colonialisme
\nhttps:\/\/libcom.org\/files\/zz_aime_cesaire_robin_d.g._kelley_discourse_on_colbook4me.org_.pdf<\/h6>\n[\/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=”1532969190362-a01badc7-fcf5″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11508″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669195416609{margin-bottom: 0px !important;}”]\n

Listen to the Beat of Our Images<\/i><\/b><\/h2>\n

Filmmaker Audrey Jean-Baptiste, Maxime Jean-Baptiste<\/strong><\/em>
\n<\/span>International Title<\/em> \u00a0Listen to the Beat of Our Images<\/i><\/b>
\n<\/strong>Country of Production<\/em> France, Guyana<\/strong><\/p>\n

15 min, stereo, HD, 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_1669141093074{margin-bottom: 0px !important;}”]Ketika Aljazair memperoleh kemerdekaan dari Prancis pada tahun 1962, presiden Prancis Charles de Gaulle membutuhkan tempat baru untuk membangun CNES (pusat antariksa nasional Prancis). Ia memilih kota kecil Kourou di bagian luar Guyana Prancis, karena posisi pesisirnya yang ideal di dekat khatulistiwa. Namun, tak ada yang memikirkan konsekuensi pembangunan tempat peluncuran roket terhadap warga setempat. Arsip <\/span>footage <\/span><\/i>pembangunan pusat antariksa tersebut dan pemandangan kehidupan Kourou yang baru dan modern disertai dengan latar suara dan sulih suara yang menggugah, mengarahkan pandangan ke orang-orang yang sampai saat ini tidak terlihat. Yang tersisa dari bidikan peluncuran roket yang memesona hanyalah debu bintang yang berdenyut, sebagai pengingat atas apa yang direnggut dari warga setempat melalui penggusuran yang mereka alami. <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669141116687{margin-bottom: 0px !important;}”]When Algeria gained independence from France in 1962, French president Charles de Gaulle urgently needed to find a new home for the CNES space center. Thanks to its ideal coastal position near the equator, he chose the little town of Kourou in the overseas territory of French Guiana. But no one gave a thought to the consequences of building a rocket launching facility on the local population living there. Archive CNES footage of the construction of the space center and scenes from life in the new, modern Kourou are accompanied by an evocative soundtrack and voiceovers, shifting the perspective onto the people who until now have been rendered invisible. All that remains of the mesmerizing shots of rocket launches is pulsating stardust, as a reminder of what local people lost through their forced rehousing.<\/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=”11506″][vc_single_image image=”11507″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669141153056{margin-bottom: 0px !important;}”]Audrey Jean-Baptiste adalah pembuat film dokumenter dan fiksi. Dia bekerja antara Prancis dan Guyana Prancis. Film-filmnya membahas masalah ras, gender, dan seksualitas. Filem dokumenter pertamanya Fabulous (2019) telah dipilih di sekitar enam puluh festival internasional.<\/span>[\/vc_column_text][vc_column_text css=”.vc_custom_1669141253946{margin-bottom: 0px !important;}”]Maxime Jean-Baptiste adalah pembuat film yang berbasis di antara Brussel dan Paris. Karya audiovisual dan performatifnya berada di antara film dokumenter dan seni kontemporer. Nou voix (2018), karya video otobiografinya, menerima hadiah juri di Festival des Cin\u00e9mas Diff\u00e9rents et Exp\u00e9rimentaux de Paris.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669141190821{margin-bottom: 0px !important;}”]Audrey Jean-Baptiste<\/b> is a documentary and fiction filmmaker. She works between France and French Guiana. Her films address issues of race, gender and sexuality. Her first documentary Fabulous (2019) has been selected in about sixty international festivals.<\/span>[\/vc_column_text][vc_column_text css=”.vc_custom_1669141284135{margin-bottom: 0px !important;}”]Maxime Jean-Baptiste<\/b> is a filmmaker based between Brussels and Paris. His audiovisual and performative work lies between documentary film and contemporary art. Nou voix (2018), his autobiographical video work, received the jury prize at the Festival des Cin\u00e9mas Diff\u00e9rents et Exp\u00e9rimentaux de Paris.<\/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=”1669141531538-fc5c6d8e-439f”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11510″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669206765168{margin-bottom: 0px !important;}”]\n

Las Picapedreras<\/i><\/b><\/h2>\n

Filmmaker Azul Aizenberg<\/strong><\/em>
\n<\/span>Country of Production<\/em> Argentina<\/strong><\/p>\n

16 min, 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_1669141639697{margin-bottom: 0px !important;}”]Tidak ada citra yang tersisa dari Pemogokan Besar Tandil yang dilakukan pada tahun 1908 oleh para pemecah batu. Hanya ada beberapa kesaksian dalam buku yang terlupakan, dan filem fiksi dari tahun 70-an. Seabad setelah peristiwa tersebut, kami merekonstruksi sejarah mereka melalui <\/span>found footage <\/span><\/i>dari beberapa filem, mencari citra-citra hilang para pemecah batu dalam gestur-gestur perempuan lain. Pemogokan itu takkan berhasil tanpa aksi-aksi mereka di garis depan. <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669141665110{margin-bottom: 0px !important;}”]No images are preserved from the Great Tandil Strike, carried out in 1908 by the stonebreakers. There are only some testimonies left in a forgotten book and a fiction film from the seventies. A century away, we reconstruct their history using found-footage from several films, looking for the absent images of the stonebreakers into the gestures of other women. The victory of this riot wouldn’t have been possible without their actions on the frontline.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1669141531991-664bb88e-9b26″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11509″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669141743548{margin-bottom: 0px !important;}”]Azul Aizenberg<\/b> (Buenos Aires, 1993) adalah pembuat filem yang lulus dari Universidad del Cine (FUC). Ia menulis dan menyutradarai filem pendek <\/span>Last Land <\/span><\/i>(2016) dan <\/span>Friend <\/span><\/i>(2019). Saat ini, ia sedang menyunting filem panjang pertamanya <\/span>Disposable Love. The Stonebreakers <\/span><\/i>(2021) adalah filem pendek ketiganya.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][\/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=”1669141981978-4bc1f78b-e710″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11512″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669195447889{margin-bottom: 0px !important;}”]\n

Festina Lente<\/i><\/b><\/h2>\n

Filmmaker Baya Medhaffar<\/strong><\/em>
\n<\/span>International Title<\/em> Festina Lente<\/i><\/b>
\n<\/strong>Country of Production<\/em> Tunisia, France<\/strong><\/p>\n

21 min, 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_1669142194591{margin-bottom: 0px !important;}”]Ketika doa tidak melakukan apa pun untuk menyelamatkan kehancuran mereka, seorang pengelana dan bayangannya menjelajah persimpangan gambar dan suara yang membentuk dan mengurai diri sepanjang jalan. Setiap penampakan merupakan kesempatan untuk berhenti sejenak, melihat, atau mendengarkan.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669142238158{margin-bottom: 0px !important;}”]Prayer doing nothing to their perdition, the traveler and his shadow make their way at the crossroads of images and voices encountered on the road that form and deform as they advance. So many apparitions that are each an opportunity to stop for a while, to take a look or to listen.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1669141982204-e0188a3b-2b43″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11511″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669142355502{margin-bottom: 0px !important;}”]Baya Medhaffar (1995), seniman asal Tunisia Prancis, terlibat dalam penyutradaraan, akting, musik, tetapi juga dalam penyuntingan. Metode penyuntingan menjadi alat ekspresi utama dalam filem-filemnya. Dia menggabungkan gambar dari karya lain, memberinya makna baru. Filemnya <\/span>Festina Lente<\/span><\/i> (2021) adalah debut penyutradaraannya, diputar di Marseille IFF., Festival Film Jihlava.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669142395743{margin-bottom: 0px !important;}”]Baya Medhaffar (1995), artist of Tunisian French origin, is involved in directing, acting, music, but also in editing. Editing methods form a major means of expression in her films. She combines images from other works, endowing them with new meanings. Her film Festina Lente (2021) is her directorial debut, screened at Marseille IFF., Jihlava Film Festival.<\/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=”1669143255019-25671f3f-5753″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11514″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669195459058{margin-bottom: 0px !important;}”]\n

Golden Jubilee<\/i><\/b><\/h2>\n

Filmmaker Suneil Sanzgiri<\/strong><\/em>
\n<\/span>International Title<\/em> Golden Jubilee<\/i><\/b>
\n<\/strong>Country of Production<\/em> India\/USA<\/strong><\/p>\n

19 min, 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_1669143615349{margin-bottom: 0px !important;}”]Golden Jubilee<\/span><\/i>, filem ketiga dari seri karya tentang ingatan, diaspora, dan dekolonialitas, memulai filem dengan adegan ayah si pembuat filem yang tengah menavigasi hasil <\/span>rendering <\/span><\/i>virtual rumah leluhur mereka di Goa, India, yang dirancang dengan teknologi pengawasan sama yang digunakan perusahaan tambang untuk memetakan lokasi bijih besi di wilayah tersebut. Alat ekstraksi dan eksploitasi menjadi metode preservasi. Sang ayah, terpicu oleh ingatan masa kecilnya, dirasuki oleh suara roh yang dikenal di daerahnya sebagai Devchar, pelindung pekerja, petani, dan tanah Goa yang dulunya komunal. Perlindungan dari apa? tanya sang pembuat filem. Perpaduan sekuens 16mm, 3D rendering, animasi langsung, dan estetika desktop khas Sanzgiri ditampilkan secara nyata dalam pertanyaan yang rimbun dan samar tentang warisan, budaya, dan peninggalan sejarah.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669143648550{margin-bottom: 0px !important;}”]Golden Jubilee<\/span><\/i>, the third film in a series of works about memory, diaspora and decoloniality, takes as its starting point scenes of the filmmaker\u2019s father navigating a virtual rendering of their ancestral home in Goa, India, created using the same technologies of surveillance that mining companies use to map locations for iron ore in the region. A tool for extraction and exploitation becomes a method for preservation. The father, sparked by a memory of an encounter as a child, inhabits the voice of a spirit known locally as Devchar, whose task is to protect the workers, farmers, and the once communal lands of Goa. Protection from what the filmmaker asks? Sanzgiri\u2019s signature blend of 16mm sequences, 3D renders, direct animation, and desktop aesthetics are vividly employed in this lush, and ghostly look at questions of heritage, culture, and the remnants of history.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1669143255233-5b9a121d-1fb6″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11513″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669143770436{margin-bottom: 0px !important;}”]Suneil Sanzgiri<\/span> adalah seorang seniman, peneliti, dan pembuat film India-Amerika. Karyanya mencakup video dan film eksperimental, animasi, esai, dan instalasi,\u00a0<\/span>dan bergulat dengan identitas, warisan, budaya, dan diaspora dalam kaitannya dengan kekerasan struktural. Dia lulus dari Massachusetts Institute of Technology (MIT) dengan gelar Master of Science dalam Seni, Budaya dan Teknologi pada tahun 2017. Karya Sanzgiri telah diputar secara luas di berbagai festival di seluruh dunia. Dia dinobatkan sebagai salah satu dari “25 Wajah Baru Film Independen” dalam <\/span>Filmmaker Magazine\u2019s Fall 2021 Issue, dan dalam edisi “New Talent” Art in America’s pada tahun 2022<\/span>. Dia saat ini sedang mengerjakan film panjang pertamanya.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669207158260{margin-bottom: 0px !important;}”]Suneil Sanzgiri is an Indian American artist, researcher, and filmmaker. His work spans experimental video and film, animations, essays, and installations, and contends with questions of identity, heritage, culture and diaspora in relation to structural violence. He graduated from the Massachusetts Institute of Technology (MIT) with a Masters of Science in Art, Culture and Technology in 2017.<\/p>\n

Sanzgiri\u2019s work has been screened extensively at festivals and venues around the world. He was named one of the \u201c25 New Faces of Independent Film\u201d in Filmmaker Magazine\u2019s Fall 2021 Issue, and in Art in America’s “New Talent” issue in 2022. He is currently working on his first feature length film.[\/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 hosts” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11557″ img_size=”full”][vc_single_image image=”11558″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669196015467{margin-bottom: 0px !important;}”]ABHISHEK NILAMBER<\/strong> (l. 1987, India) bekerja dengan proyek dan produk yang mengkatalisasi demokratisasi pengetahuan. Dia adalah kurator dan produser kreatif di SAVVY Contemporary, Berlin dan konsultan kreatif di Backyard Civilization, Kochi, India. Nilamber telah tinggal dan bekerja di Berlin sejak Mei 2016.<\/span>[\/vc_column_text][vc_column_text css=”.vc_custom_1669196112001{margin-bottom: 0px !important;}”]LAURA KLOECKNER<\/strong> adalah kurator dan produser filem yang berbasis di Berlin. Sejak 2018, ia menjadi bagian dari SAVVY Contemporary, sebuah ruang seni yang berbasis di Berlin. Saat ini, ia menjadi ko-kurator proyek penelitian United Screens, yang mengamati sistem alternatif untuk sirkulasi filem dan seni video. Laura pernah bekerja untuk DOX BOX dan festival filem internasional seperti Leipzig Festival for Documentary and Animated Film (DOK Leipzig) dan Berlinale.\u00a0 Laura memiliki gelar magister di Politik dan Studi Poskolonial dari SOAS, University of London. Sejak 2022, ia menjadi produser kreatif di Seera Films, Berlin. <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669195982380{margin-bottom: 0px !important;}”]ABHISHEK NILAMBER<\/strong> (b. 1987, India) works with projects and products which catalyses democratisation of knowledge. He is a researcher and curator at SAVVY Contemporary, Berlin and creative consultant at Backyard Civilization, Kochi, India. Nilamber has been living and working in Berlin since May 2016.<\/span><\/em>[\/vc_column_text][vc_column_text css=”.vc_custom_1669196167156{margin-bottom: 0px !important;}”]LAURA KLOECKNER<\/strong> is a curator and film producer based in Berlin. She is part of the Berlin based art space SAVVY Contemporary since 2018 and currently co-curates the research project United Screens which looks into alternative systems for film and video art circulation. Laura previously worked for DOX BOX as well as international film festivals, the International Leipzig Festival for Documentary and Animated Film (DOK Leipzig) and the Berlinale. Laura holds an MA in Politics and Postcolonial Studies from SOAS, University of London. Since 2022 she is a creative film producer at Seera Films in Berlin.\u00a0<\/span><\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/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][vc_single_image image=”11515″ img_size=”1380×198″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669144705454{margin-bottom: 0px !important;}”]SAVVY<\/strong><\/p>\n

SAVVY Contemporary didirikan pada tahun 2009 oleh Bonaventure Soh Bejeng Ndikung untuk menawarkan sebuah platform untuk pemikiran kritis dan keramah-tamahan. SAVVY adalah ruang komunitas yang percaya akan pentingnya membangun hubungan dengan kasih sayang. Sebagai sebuah (para-)institusi yang terus membentuk diri, kami telah bereksperimen dengan berbagai jenis format, melibatkan diri secara radikal dengan perspektif keberagaman epistemologis, penemuan kolonial ilmu pengetahuan, dekanonisasi, mengurai kembali pemahaman yang sudah tertanam, mengurai kembali bias-bias pendengaran, partisipasi, solidaritas, kewarasan tingkat tinggi, hingga cinta radikal \u2013 baik dalam lingkungan kami di Berlin, konteks yang lebih besar yaitu Jerman, hingga kolaborasi serta jaringan internasional.<\/p>\n

Dengan tim yang terdiri dari 25 anggota yang mewakili nyaris 25 negara, SAVVY Contemporary telah mewujudkan sebuah kaleidoskop pameran seni rupa, pertunjukkan, penayangan filem, kuliah, konser, pembacaan, diskusi, dan tarian \u2013 di Berlin, Jerman, dan lebih luas lagi. SAVVY Contemporary telah mendirikan pusat arsip partisipatoris tentang sejarah kolonial Jerman; pusat dokumentasi performance art; perpustakaan; program residensi; serial penerbitan SAVVY; label rekaman (SAVVY records); radio SAVVYZ\u039b\u039bR; dan juga proyek edukasi dengan sekolah-sekolah. Ruang seni ini melibatkan diri dalam
\nsejarah lingkungan sekitarnya dan realitas sosio-politik yang terkait erat dengan refleksi dan diskursus proyek ini.<\/p>\n

SAVVY Contemporary merayakan pluralitas epistemologi saat kita mengartikulasikan \u201cpengetahuan-pengetahuan\u201d sebagai alat untuk mendekolonisasi singularitas pengetahuan. SAVVY Contemporary memberi ruang untuk merefleksikan kolonialitas kekuasaan (Anibal Quijano) dan bagaimana mereka mempengaruhi sejarah, geografi, gender, dan ras. SAVVY adalah sebuah ruang untuk praktik dan estetika dekolonial, di mana kepatuhan epistemologis dan pemecahan hubungan (Walter Mignolo) dipraktikkan. Di mana kami mengusulkan untuk bergerak bersama Sylvia Winter \u201cmenuju kemanusiaan, melampaui manusia\u201d<\/p>\n

Kami mengenali kekuatan SAVVY Contemporary dalam konsep dan aksioma praktik. Ketika dunia dihadapkan oleh ancaman pluriversalitas budaya, bahasa, kosmologi, ekologi, ekonomi, dan juga kehidupan itu sendiri; kami memegang teguh kepercayaan \u201cpengetahuan dan cara hidup yang lain itu mungkin\u201d (Boaventura de Sousa Santos) dan berusaha untuk menggunakan seni dan budaya sebagai alat dan metode untuk menegosiasikan dan mempersuasikan imajiner yang secara aktif menolak semua bentuk kekerasan dan meLainkan.<\/p>\n

UNITED SCREENS<\/strong><\/p>\n

UNITED SCREENS adalah sebuah proyek penelitian, eksibisi, dan jaringan jangka panjang yang bertujuan untuk membuat sebuah aliansi programmer sinema komunitas yang mencintai filem independen, yang sama-sama berada di kondisi kerentanan ekonomi dan politik, membuat mereka kerap mengalami pertukaran yang tidak adil dalam industri sinema. Melalui proyek ini, kami ingin bekerja untuk mewujudkan model distribusi filem dan video seni, terutama yang diproduksi di daerah Tropis.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669144915267{margin-bottom: 0px !important;}”]SAVVY<\/strong>
\nSAVVY Contemporary was founded in 2009 by Bonaventure Soh Bejeng Ndikung to offer a platform for critical thinking and conviviality. It is a community space that believes in forging relationships through care. As a (para)institution in perpetual becoming, we have been experimenting with manifold formats, radically engaging with perspectives of epistemological diversity, the colonial invention of sciences, decanonisation, unlearning, untraining the ear, participation, solidarity, ultrasanity, and radical love \u2013 in our neighbourhoods in Berlin, in the wider context of Germany as well as in international collaborations and networks.<\/p>\n

With a flowing team of circa 25 members from about as many countries, SAVVY Contemporary has realized a kaleidoscope of art exhibitions, performances, film screenings, lectures, concerts, readings, talks, dances \u2013 in Berlin, German, and beyond. SAVVY Contemporary has established a participatory archive on German colonial history, a documentation center of performance art, a library, a residency program, a series of SAVVY publications, a record label (SAVVY records), the radio platform SAVVYZ\u039b\u039bR as well as educational projects with schools. The art space engages in its neighborhood’s history and socio-political realities which are entangled with the reflections and discourses of the project.<\/p>\n

SAVVY Contemporary celebrates the plurality of epistemologies as we articulate knowledges as a means of decolonising the singularity of knowledge. SAVVY Contemporary gives space to reflect on colonialities of power (Anibal Quijano) and how these affect histories, geographies, gender and race. It is a space for decolonial practices and aesthetics where epistemological disobedience and delinking (Walter Mignolo) are practiced. Where we propose to move with Sylvia Wynter \u201ctowards the Human, after Man.\u201d<\/p>\n

We identify the strength of SAVVY Contemporary in both conceptual and corporeal axes of our practice. At a moment when the world is facing challenges that threaten the pluriversality of cultures, languages, cosmologies, ecologies, economies as well as life itself, we hold steadfast to the belief that \u201cAnother Knowledge and Way of Being is Possible\u201d (Boaventura de Sousa Santos) and strive to use art and culture as a tool and method to negotiate and persuade towards imaginaries that actively resist all forms of violence and othering.<\/p>\n

UNITED SCREENS<\/strong>
\nUNITED SCREENS is a long term research, exhibition and networking project that intends to create an alliance of community cinema programmers loving independent film, sharing a condition of economic or political vulnerability, and hence being easily subjected to unfair trade-offs within the cinema industry. Through this project, we aim to work towards a model for a distributed platform for films and video art particularly produced across the Tropics.[\/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":[621,620,280],"class_list":["post-11492","post","type-post","status-publish","format-standard","hentry","category-arkipel-2022-catch-22","category-international-competition-program","tag-catch-program","tag-catch22","tag-special-presentation"],"jetpack_publicize_connections":[],"yoast_head":"\nCatch 22 - Special Presentation 3 — ARKIPEL<\/title>\n<meta name=\"description\" content=\"Referring to the previous Catch-22 illustration about the cockpit, this curatorial invites you to question again, what if those two visual modes mess up our perception of cinema and today's conflicts? Disorientation through the dismantling of this visual mode brings a genial possibility in viewing human problems trapped in a localized Operation Theater whom are increasingly aware that the proscenium is always one.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Catch 22 - Special Presentation 3 — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"Referring to the previous Catch-22 illustration about the cockpit, this curatorial invites you to question again, what if those two visual modes mess up our perception of cinema and today's conflicts? Disorientation through the dismantling of this visual mode brings a genial possibility in viewing human problems trapped in a localized Operation Theater whom are increasingly aware that the proscenium is always one.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/\" \/>\n<meta property=\"og:site_name\" content=\"ARKIPEL\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/arkipel.festival\/\" \/>\n<meta property=\"article:author\" content=\"http:\/\/facebook.com\/arkipel.festival\" \/>\n<meta property=\"article:published_time\" content=\"2022-11-22T15:46:44+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-11-23T12:39:25+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/arkipel-logo-1080-x-564.png?fit=1080%2C564&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"1080\" \/>\n\t<meta property=\"og:image:height\" content=\"564\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Arkipel\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@http:\/\/twitter.com\/arkipel\" \/>\n<meta name=\"twitter:site\" content=\"@arkipel\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Arkipel\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"15 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/\"},\"author\":{\"name\":\"Arkipel\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef\"},\"headline\":\"Catch 22 – Special Presentation 3\",\"datePublished\":\"2022-11-22T15:46:44+00:00\",\"dateModified\":\"2022-11-23T12:39:25+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/\"},\"wordCount\":4110,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/arkipel.org\/#organization\"},\"keywords\":[\"catch program\",\"catch22\",\"Special Presentation\"],\"articleSection\":[\"ARKIPEL 2022 - catch-22\",\"International Competition\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/\",\"url\":\"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/\",\"name\":\"Catch 22 - Special Presentation 3 — ARKIPEL\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/#website\"},\"datePublished\":\"2022-11-22T15:46:44+00:00\",\"dateModified\":\"2022-11-23T12:39:25+00:00\",\"description\":\"Referring to the previous Catch-22 illustration about the cockpit, this curatorial invites you to question again, what if those two visual modes mess up our perception of cinema and today's conflicts? Disorientation through the dismantling of this visual mode brings a genial possibility in viewing human problems trapped in a localized Operation Theater whom are increasingly aware that the proscenium is always one.\",\"breadcrumb\":{\"@id\":\"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/arkipel.org\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Catch 22 – Special Presentation 3\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/arkipel.org\/#website\",\"url\":\"https:\/\/arkipel.org\/\",\"name\":\"ARKIPEL\",\"description\":\"Jakarta International Documentary and Experimental Film Festival\",\"publisher\":{\"@id\":\"https:\/\/arkipel.org\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/arkipel.org\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/arkipel.org\/#organization\",\"name\":\"Arkipel\",\"url\":\"https:\/\/arkipel.org\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1\",\"contentUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1\",\"width\":901,\"height\":351,\"caption\":\"Arkipel\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/arkipel.festival\/\",\"https:\/\/x.com\/arkipel\",\"https:\/\/www.instagram.com\/arkipel\/\",\"https:\/\/www.youtube.com\/channel\/UCr6MA0fZypBs9tHpfNa3vVQ\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef\",\"name\":\"Arkipel\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/6031ef1fe83cef04c2da0d3bd7eb664c?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/6031ef1fe83cef04c2da0d3bd7eb664c?s=96&d=mm&r=g\",\"caption\":\"Arkipel\"},\"description\":\"ARKIPEL - Jakarta International Documentary & Experimental Film Festival, held in Indonesia by Forum Lenteng. This festival is a open space of cinema and media discourse in general, especially documentary and experimental film genre.\",\"sameAs\":[\"http:\/\/arkipel.org\/\",\"http:\/\/facebook.com\/arkipel.festival\",\"https:\/\/x.com\/http:\/\/twitter.com\/arkipel\"],\"url\":\"https:\/\/arkipel.org\/people\/arkipel\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Catch 22 - Special Presentation 3 — ARKIPEL","description":"Referring to the previous Catch-22 illustration about the cockpit, this curatorial invites you to question again, what if those two visual modes mess up our perception of cinema and today's conflicts? Disorientation through the dismantling of this visual mode brings a genial possibility in viewing human problems trapped in a localized Operation Theater whom are increasingly aware that the proscenium is always one.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/","og_locale":"en_US","og_type":"article","og_title":"Catch 22 - Special Presentation 3 — ARKIPEL","og_description":"Referring to the previous Catch-22 illustration about the cockpit, this curatorial invites you to question again, what if those two visual modes mess up our perception of cinema and today's conflicts? Disorientation through the dismantling of this visual mode brings a genial possibility in viewing human problems trapped in a localized Operation Theater whom are increasingly aware that the proscenium is always one.","og_url":"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/","og_site_name":"ARKIPEL","article_publisher":"https:\/\/www.facebook.com\/arkipel.festival\/","article_author":"http:\/\/facebook.com\/arkipel.festival","article_published_time":"2022-11-22T15:46:44+00:00","article_modified_time":"2022-11-23T12:39:25+00:00","og_image":[{"width":1080,"height":564,"url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/arkipel-logo-1080-x-564.png?fit=1080%2C564&ssl=1","type":"image\/png"}],"author":"Arkipel","twitter_card":"summary_large_image","twitter_creator":"@http:\/\/twitter.com\/arkipel","twitter_site":"@arkipel","twitter_misc":{"Written by":"Arkipel","Est. reading time":"15 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/#article","isPartOf":{"@id":"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/"},"author":{"name":"Arkipel","@id":"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef"},"headline":"Catch 22 – Special Presentation 3","datePublished":"2022-11-22T15:46:44+00:00","dateModified":"2022-11-23T12:39:25+00:00","mainEntityOfPage":{"@id":"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/"},"wordCount":4110,"commentCount":0,"publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"keywords":["catch program","catch22","Special Presentation"],"articleSection":["ARKIPEL 2022 - catch-22","International Competition"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/","url":"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/","name":"Catch 22 - Special Presentation 3 — ARKIPEL","isPartOf":{"@id":"https:\/\/arkipel.org\/#website"},"datePublished":"2022-11-22T15:46:44+00:00","dateModified":"2022-11-23T12:39:25+00:00","description":"Referring to the previous Catch-22 illustration about the cockpit, this curatorial invites you to question again, what if those two visual modes mess up our perception of cinema and today's conflicts? Disorientation through the dismantling of this visual mode brings a genial possibility in viewing human problems trapped in a localized Operation Theater whom are increasingly aware that the proscenium is always one.","breadcrumb":{"@id":"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/arkipel.org\/catch-22-spesial-presentation-3\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/arkipel.org\/"},{"@type":"ListItem","position":2,"name":"Catch 22 – Special Presentation 3"}]},{"@type":"WebSite","@id":"https:\/\/arkipel.org\/#website","url":"https:\/\/arkipel.org\/","name":"ARKIPEL","description":"Jakarta International Documentary and Experimental Film Festival","publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/arkipel.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/arkipel.org\/#organization","name":"Arkipel","url":"https:\/\/arkipel.org\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","width":901,"height":351,"caption":"Arkipel"},"image":{"@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/arkipel.festival\/","https:\/\/x.com\/arkipel","https:\/\/www.instagram.com\/arkipel\/","https:\/\/www.youtube.com\/channel\/UCr6MA0fZypBs9tHpfNa3vVQ"]},{"@type":"Person","@id":"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef","name":"Arkipel","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/6031ef1fe83cef04c2da0d3bd7eb664c?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/6031ef1fe83cef04c2da0d3bd7eb664c?s=96&d=mm&r=g","caption":"Arkipel"},"description":"ARKIPEL - Jakarta International Documentary & Experimental Film Festival, held in Indonesia by Forum Lenteng. This festival is a open space of cinema and media discourse in general, especially documentary and experimental film genre.","sameAs":["http:\/\/arkipel.org\/","http:\/\/facebook.com\/arkipel.festival","https:\/\/x.com\/http:\/\/twitter.com\/arkipel"],"url":"https:\/\/arkipel.org\/people\/arkipel\/"}]}},"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-2Zm","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/11492","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=11492"}],"version-history":[{"count":8,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/11492\/revisions"}],"predecessor-version":[{"id":11563,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/11492\/revisions\/11563"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=11492"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=11492"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=11492"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}