Host<\/em> BISFF<\/strong><\/p>\n Senin, 28 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_1669145744048{margin-bottom: 0px !important;}”]Dengan berpartisipasi dalam tema ARKIPEL 2022: <\/span>Catch-22<\/span><\/i>, kami telah memilih 7 karya filem dari katalog BISFF. Karya-karya ini bukan hanya menerapkan arsip gambar secara kreatif dengan cara mengikuti karakteristik medianya masing-masing (Lukas Marxt, Rob Carter); tetapi juga membuat sebuah arsip citra dari pengarsipkan reruntuhan kota (Frank Fang); mengarsipkan suara nyanyian (Pathompon Mont Tesprateep); sampai mengarsipkan ruang <\/span>sex cam <\/span><\/i>(Daniel Jacoby). Mereka juga secara langsung mendalami sensasi penangguhan waktu yang dibawa oleh arsip (Christoph Girarder, Matthias M\u00fcller) dan pembekuan dan pencairan arsip (Wency Zhang, Huang Yue). Filem-filem ini juga mewakili arah utama fokus BISFF ke ruang filem arsip dalam beberapa tahun terakhir. Waktu dalam arsip gambar yang diam dan melayang, ketidakmampuan untuk maju atau mundur, atau sebuah dilema. Terlelap dalam penangguhan spiritual setelah \u201cmomen diam\u201d yang diciptakan epidemi yang mungkin akan membawa kita menuju pikiran yang lebih tercerahkan dan praktis.<\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1669145767640{margin-bottom: 0px !important;}”]By participating in ARKIPEL’s 2022 theme: Catch-22, we have carefully selected seven film works from the BISFF catalogues. These works not only creatively apply image archives by following their media characteristics (Lukas Marxt, Rob Carter) but also create image archives, from archiving urban ruins (Frank Fang), archiving singing voices (Pathompon Mont Tesprateep), to archiving sex cams rooms (Daniel Jacoby ). They also directly explore the sense of time suspension brought by archives (Christoph Girardet, Matthias M\u00fcller) and the freezing and unfreezing of archives (Wency Zhang, Huang Yue). These films also represent key directions of BISFF’s focus on the field of archival films in recent years. The hovering and stillness of the image archives in time, its state and tension may approach infinitely the hovering sense of subjectivity, the inability to advance or retreat, or a kind of dilemma. Sleeping on this spiritual suspension after the “still moment” created by the epidemic may bring us more enlightening and practical thoughts.<\/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=”1532969190362-a01badc7-fcf5″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11519″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669145926776{margin-bottom: 0px !important;}”]\n Filmmaker Christoph Girardet, Matthias M\u00fcller<\/strong><\/em> 15 min, 2016<\/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_1669145955046{margin-bottom: 0px !important;}”]Personne<\/span><\/i> \u2013 ialah seseorang dan bukan siapa-siapa dan siapa saja. Itulah kita dalam perjalanan waktu. Terus-menerus, sia-sia. Diri adalah kebutuhan akan penegasan secara permanen.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669145978118{margin-bottom: 0px !important;}”]Personne \u2013 that is somebody and nobody and anyone. That is us in the course of time. Persistently, in vain. The self is the need for permanent self-assertion.<\/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_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669146001151{margin-bottom: 0px !important;}”]Christoph Girardet (lahir di Langenhagen, Jerman, pada tahun 1966) dan Matthias M\u00fcller (lahir di Bielefeld, Jerman, pada tahun 1961) mulai berkolaborasi secara artistik pada tahun 1999. Dalam banyak karya mereka, mereka memanfaatkan <\/span>found footage<\/span><\/i>; komposisi kompleks mereka dari materi yang disesuaikan membuka lapisan makna baru. Filem-filem mereka dipresentasikan di festival filem seperti Cannes, Venesia, Berlin, Rotterdam, New York dan Oberhausen serta di museum dan tempat pameran seperti Walker Art Centre Minneapolis, Bozar \u2013 Palais des Beaux-Arts Brussels, Tate Modern London, Deichtorhallen Hamburg dan EYE Film Institute Amsterdam. Christoph Girardet dan Matthias M\u00fcller dianugerahi berbagai penghargaan, misalnya German Film Critics Association Award 1999, Marl Video Art Award 2004, Prix Canal + du Meilleur court m\u00e9trage\u00a0 di Festival Film Cannes dan German Short Film Award pada 2006 serta Arte Short Film Prize 2012 dan 2014.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669146018114{margin-bottom: 0px !important;}”]Christoph Girardet (born in Langenhagen, Germany, in 1966) and Matthias M\u00fcller (born in Bielefeld, Germany, in 1961) started collaborating artistically in 1999. In many of their works they make use of found footage; their complex compositions of appropriated material unfold new layers of meaning. Their films were presented at such film festivals as Cannes, Venice, Berlin, Rotterdam, New York and Oberhausen as well as in museums and exhibition venues like the Walker Art Center Minneapolis, the Bozar \u2013 Palais des Beaux-Arts Brussels, Tate Modern London, the Deichtorhallen Hamburg and the EYE Film Institute Amsterdam. Christoph Girardet and Matthias M\u00fcller have been honored with numerous prizes, for example the 1999 German Film Critics Association Award, the 2004 Marl Video Art Award, the Prix Canal + du Meilleur court m\u00e9trage at the Cannes Film Festivals and the German Short Film Award in 2006 as well as the 2012 and 2014 Arte Short Film Prize.<\/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=”1669146110716-1ced4daa-b34c”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11521″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669146242604{margin-bottom: 0px !important;}”]\n Filmmaker\u00a0Frank Fang<\/strong><\/em> 16 min, stereo, HD, 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_1669146262959{margin-bottom: 0px !important;}”]Bagaimana seseorang bisa mendapatkan kembali ingatan mereka, jika tempat yang mereka kenal tiba-tiba hilang? Eksperimen singkat mencoba menggunakan legenda urban untuk menganalisis situasi di kota-kota Cina modern. Digabungkan dengan film still 35mm, rol film super 8, dan gambar diam digital, <\/span>Darkly Negative Prints <\/span><\/i>atau “cetakan negatif gelap” mencerminkan gerakan urbanisasi besar-besaran di kota Hangzhou.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669146276352{margin-bottom: 0px !important;}”]How can one get back their memories, if the places they familiar with were all gone suddenly? An experimental short trying to use urban legends to analyze the situation in modern Chinese cities. Pieced together with 35mm film stills, super 8 film roll and digital still images, \u201cdarkly negative prints\u201d reflects the massive urbanization movements in the city Hangzhou.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1669146110856-9b2722f0-c3a3″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11520″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669146295430{margin-bottom: 0px !important;}”]Frank Fang lahir di Hangzhou pada tahun 1996, ia lulus dari Universitas Komunikasi Zhejiang pada tahun 2018. Karya filemnya sebagian besar merupakan kombinasi dari sinema eksperimental dan dokumenter. Frank saat ini sedang membuat proyek dokumenter eksperimental tentang tempat-tempat yang terlupakan di kota Hangzhou yang disebut “abandoned landscapes”.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669146309329{margin-bottom: 0px !important;}”]Frank Fang was born in Hangzhou in 1996, he graduated from Communication University of Zhejiang in 2018. His film works were mostly combinations of experimental cinema and documentary. Frank is currently making an experimental documentary project about the forgotten places in Hangzhou city called “abandoned landscapes”.<\/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=”1669146428534-b746b800-2413″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11523″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669196124886{margin-bottom: 0px !important;}”]\n Filmmaker <\/em>Rob Carter<\/strong> Filmmaker Pathompon Mont Tesprateep<\/strong><\/em> 8 min, stereo, HD, B\/W, 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_1669147128001{margin-bottom: 0px !important;}”]Pleng-Krom-Dek (Lullaby) <\/span><\/i>terdiri dari empat lagu pengantar tidur tradisional dialek Chehe. Sebagian besar ditulis oleh penduduk setempat, lirik tradisional sering kali mencerminkan cara hidup, doktrin, dan campuran bahasa mereka yang unik. Dalam filem ini, Mont berkolaborasi dengan seorang Buddhis Thailand dan seorang pensiunan guru Siriporn Thongchinda, yang juga bekerja sebagai pekerja sosial rehabilitasi remaja dan seorang konservator dialek Chehe, dalam menulis ulang lirik yang berfokus pada sikapnya terhadap agama dan agama saat ini. ketidakharmonisan budaya. Filem ini adalah upaya untuk mengaburkan batas antara lagu pengantar tidur lokal dan penyamarannya yang tersirat sebagai hipnotisme ideologis. <\/span>Pleng-Krom-Dek (Lullaby)<\/span><\/i> adalah bagian pertama dari proyek film yang sedang berlangsung (2019 – berjalan) yang didasarkan pada penelitian Mont di tengah buramnya informasi dan insiden mengenai konflik subnasional di Deep South, Thailand.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669147150619{margin-bottom: 0px !important;}”]Pleng-Krom-Dek (Lullaby) <\/span><\/i>consists of four new renditions of traditional Chehe dialect lullaby tunes. Mostly written by the locals, the traditional lyrics often reflect their ways of life, doctrines, and unique mixture of languages. In this film, Mont collaborates with a Thai Buddhist and a retired teacher Siriporn Thongchinda, who also works as a youth-rehabilitation social worker and a conservator of Chehe dialect, in rewriting the lyrics focusing on her attitude towards the current religious and cultural disharmony. This film is an attempt to blur the border between local lullaby and its implicit disguise as ideological hypnotism. <\/span>Pleng-Krom-Dek (Lullaby)<\/span><\/i> is the first part from an ongoing film project (2019-present) which is based on Mont’s research in the midst of obscured information and incidents concerning the subnational conflict in the Deep South, Thailand. <\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1669146996044-569bc42a-8d57″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11524″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669147187576{margin-bottom: 0px !important;}”]Pathompon Mont Tesprateep lahir di Bangkok tetapi dibesarkan di Isan (wilayah timur laut Thailand). Dia lulus dengan gelar Master di Seni Rupa dari Chelsea College of Arts, London. Dibangun dari lapisan bahan suara dan film – dari seluloid ke digital – dan fotografi, filem-filemnya menyulap pengalaman yang seperti kesurupan dan imersif sambil memunculkan taman bermain kesadaran dan struktur mimpi yang menghubungkan memori tunggal dengan fragmen dan ketidakpastian. Mont telah mengerjakan serangkaian film 16mm dan S-8 yang diproses dengan tangan, yang telah ditayangkan di festival film di seluruh dunia. Mont tinggal di Bangkok, Thailand, dan sedang mengembangkan naskah untuk filem panjang pertamanya.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669147202438{margin-bottom: 0px !important;}”]Pathompon Mont Tesprateep was born in Bangkok but raised in Isan (the northeastern region of Thailand). He graduated with a Master degree in Fine Art from Chelsea College of Arts, London. Constructed from layers of sound and filmic materials – from celluloid to digital – and photography, his films conjure trance-like and immersive experience while emerging the playground of conscious and the dream structure that associates singular memory to the fragments and uncertainty. Mont has been working on a series of hand-processed 16mm and S-8 films, which have been shown at film festivals around the world. Mont lives in Bangkok, Thailand, and has been developing a script for his first feature film.<\/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=”1669147353452-72891831-3f05″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11528″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669147462303{margin-bottom: 0px !important;}”]\n Filmmaker Wency Zhang, Huang Yue<\/strong><\/em> 24 min, stereo, HD, 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_1669147509048{margin-bottom: 0px !important;}”]Pada tahun 2069, beberapa rol film kerap ditemukan di pusat regenerasi. Para ilmuwan pun mengekstrak gen dari rambut yang tertinggal di film untuk memberikan nyawa baru bagi Huami, seekor kucing. Dengan kesadaran manusia dan kenangan masa lalu, Huami menulis surat kepada pemiliknya pada tahun 2019\u2026<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669147524623{margin-bottom: 0px !important;}”]In 2069, a few rolls of films are found in a regeneration center occasionally. Then scientists extract the genes from the hair which were left on the films to give a cat, Huami, a new life. With human\u2019s consciousness and the memories which belongs to the past time, Huami write a letter to her owner in 2019\u2026<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1669147354064-eda91c7a-266f”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11526″][vc_single_image image=”11527″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669147546282{margin-bottom: 0px !important;}”]Huang Yue (1992) adalah pembuat film dan seniman yang meraih gelar MFA di bidang Filmmaking di School of the Art Institute of Chicago pada tahun 2019. Sekarang dia tinggal di Shanghai. Saat ini karya-karyanya berfokus pada kelas yang sangat beragam yang tinggal di kota yang sama, dan kontradiksi di antara individu-individu yang berbeda itu dengan memperhatikan bagaimana mereka mengada dengan sendirinya dan bagaimana mereka berhubungan satu sama lain.<\/span>[\/vc_column_text][vc_column_text css=”.vc_custom_1669147632356{margin-bottom: 0px !important;}”]Wency Zhang (1992) adalah pembuat film dan seniman visual independen. Dia meraih gelar MFA di School of the Art Institute of Chicago. Selama masa studinya, dia menyelesaikan film esai dokumenter eksperimental <\/span>A Letter from Huami<\/span><\/i> yang lolos tahap pra-seleksi Visions du Reel pada tahun 2020 dan bagian dari daftar semifinal kompetisi Student Academy Awards ke-47. Sekarang dia tinggal di Shanghai dan sedang mengerjakan film non-fiksi pertamanya.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669147566598{margin-bottom: 0px !important;}”]Huang Yue (1992) is a filmmaker and artist who achieved his MFA degree of Filmmaking in School of the Art Institute of Chicago in 2019. Now he lives in Shanghai and currently his works focus on the the highly diversified classes who live in the same city and the contradictory among those different individuals through paying attention on how they exist by themselves and how they connect with each other.<\/span>[\/vc_column_text][vc_column_text css=”.vc_custom_1669147648591{margin-bottom: 0px !important;}”]Wency Zhang (1992) is an independent filmmaker and visual artist. She achieved her MFA degree in School of the Art Institute of Chicago. During her studying time, she finished an experimental documentary essay film <\/span>A Letter from Huami <\/span><\/i>and it was pre-selected by Visions du Reel in 2020 and part of the semi-final list of 47th Student Academy Awards competition. Now she lives in Shanghai and is working on her first non-fiction films.<\/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=”1669147799051-5b6eb2ae-b931″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11530″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669147878237{margin-bottom: 0px !important;}”]\n Filmmaker Daniel Jacoby<\/strong><\/em> 23 min, stereo, 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_1669147907945{margin-bottom: 0px !important;}”]Dari dinding putih polos hingga latar belakang bombastis, <\/span>chat room<\/span><\/i> dewasa adalah portal menuju dunia fantasi manusia. Berfokus pada momen-momen ketika para penampil berada di luar layar, rangkaian ruang menghantu yang cermat membawa kita pada perjalanan ekspresi diri dan hasrat kesepian yang meresahkan. Ketidaknyamanan yang tumbuh dengan apa yang telah terjadi atau akan terjadi di kamar-kamar kosong ini diselingi dengan potongan-potongan wawancara dengan “camgirls” dan “camboys” yang menyelidiki dampak psikologis dari jenis kerja seks digital ini.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669147930600{margin-bottom: 0px !important;}”]From plain white walls to bombastically crafted backdrops, adult chat rooms are portals to people’s phantasy worlds. Focusing on the moments when performers are off-screen, a meticulous concatenation of ghostly spaces takes us on an unsettling journey of self-expression and lonesome desire. The growing discomfort with what has happened or is about to happen in these empty rooms is interspersed with fragments of interviews with “camgirls” and “camboys” delving into the psychological repercussions of this digital type of sex work.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1669147799496-9c98e459-67c7″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11529″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669147961269{margin-bottom: 0px !important;}”]Karya Daniel Jacoby berkisar dari film hingga patung, instalasi, dan pertunjukan. Pendekatannya yang inventif dan tidak langsung terhadap materi pelajaran telah membawanya untuk mendokumentasikan individu-individu yang terisolasi dengan pandangan dunia yang eksentrik, mementaskan ulang situasi sehari-hari dengan cara yang luar biasa, menjelajahi konsep-konsep yang ambigu dengan penjelasan yang mustahil, dan menciptakan realitas distopia yang tampaknya secara aneh menjelaskan. penghidupan kita saat ini. Setelah lulus dalam bidang seni rupa dari Universitas Barcelona, ia melanjutkan pendidikannya di St\u00e4delschule di Frankfurt dan Jan van Eyck Academie di Maastricht. Pameran terbaru meliputi tempat-tempat seperti EYE Film Institute (Amsterdam), Fundaci\u00f3 Joan Mir\u00f3 (Barcelona), The Banff Center (Alberta), Palais de Tokyo (Paris), Kunstverein Harburger Bahnhof (Hamburg).<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669147980901{margin-bottom: 0px !important;}”]Daniel Jacoby\u2019s work spans from film to sculpture, installation and performance. His inventive and indirect approach to the subject matter has led him to document isolated individuals with eccentric views of the world, re-stage everyday situations in uncanny ways, explore ambiguous concepts with impossible explanations, and create dystopian realities that seem to weirdly shed light on our current livelihoods. After graduating in fine arts from the University of Barcelona, he furthered his education at the St\u00e4delschule in Frankfurt and the Jan van Eyck Academie in Maastricht. Recent exhibitions include venues like EYE Film Institute (Amsterdam), Fundaci\u00f3 Joan Mir\u00f3 (Barcelona), The Banff Centre (Alberta), Palais de Tokyo (Paris), Kunstverein Harburger Bahnhof (Hamburg).<\/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=”1669148073969-ba22ccbd-8102″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11532″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669265331749{margin-bottom: 0px !important;}”]\n Filmmaker Lukas Marxt<\/strong><\/em> 20 min, stereo, HD, 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_1669148185252{margin-bottom: 0px !important;}”]Panjang 45 mil, lebar 20 mil, dan, pada level tertingginya, kedalaman 76 kaki di pusat wastafel Salton Sea adalah danau pedalaman terbesar di California. Angkatan Laut AS mulai menggunakan Laut Salton pada tahun 1939 sebagai tempat untuk mengevaluasi kinerja pesawat amfibi; pada tahun 1942, mereka membuka Pangkalan Uji Laut Salton masa perang di pantai barat daya. Pada akhir 1944, Skuadron Komposit ke-509 dari Lapangan Udara Tentara Wendover mulai menjatuhkan bom atom pertama dari lebih dari 150 bom atom uji ke Laut Salton.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669148203328{margin-bottom: 0px !important;}”]45 miles long, 20 miles wide, and, at its highest level, 76 feet deep in the sink\u2018s center Salton Sea was the largest inland lake in California. The U.S. Navy started using the Salton Sea in 1939 as a site for evaluating the performance of seaplanes; in 1942, they opened the wartime Salton Sea Test Base on the southwest shore. In late 1944, the 509th Composite Squadron from Wendover Army Air Field began dropping the first out of over 150 test atomic bombs into the Salton Sea.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1669148074446-646fef02-0dfb”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11531″][\/vc_column_inner][vc_column_inner width=”5\/12″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669148258333{margin-bottom: 0px !important;}”]Lukas Marxt (1983, Austria) is an artist and a filmmaker living and working between Cologne and Graz. Marxt\u00b4s interest in the dialogue between human and geological existence, and the impact of man upon nature was first explored in his studies of Geography and Environmental Science at the University of Graz, and was further developed through his audio visual studies at the Art University in Linz. He received his MFA from the Academy of Media Arts Cologne, and attended the postgraduate programme at the Academy of Fine Arts Leipzig. Marxt has been sharing his research in the visual art environment as well as in the cinema context. Since 2017, Marxt has spent a considerable amount of time in Southern California, where he has researched the ecological and socio-political structures surrounding the Salton Sea.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About the Host” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669148364245{margin-bottom: 0px !important;}”]Beijing International Short Film Festival (BISFF) adalah sebuah festival film yang dicintai di Cina. Dalam durasi 10 hari festival berjalan, ratusan sineas dan seniman mempersembahkan karya mereka kepada penonton yang lebih besar. BISFF menyambut dan memotivasi bakat-bakat baru maupun sineas yang sudah mapan dari berbagai latar belakang aspirasi seni mereka. Festival ini secara kolektif berusaha untuk memperluas ruang kreatif untuk warga sinema dan merayakan keragaman bentuk sinema. BISSF juga bertujuan untuk menyediakan sebuah panggung untuk beragam genre dari filem-filem pendek dunia setiap tahunnya dan mempromosikan manfaat artistik dari sinema independen, mengapresiasi perspektif dan ekspresi baru, membuat sebuah ruang untuk memicu inspirasi, sebuah panggung untuk memulai percakapan lintas batas dengan seni kontemporer dan dunia teknologi. Program-program kami berkutat dengan masalah dari sosial kontemporer dan relevansi estetika, merepresentasikan kekuatan dan pengaruh dari sinema independen.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669148408904{margin-bottom: 0px !important;}”]The Beijing International Short Film Festival (BISFF) is a beloved film festival in China. During ten festival days, hundreds of filmmakers and artists present their work to a large audience. BISFF welcomes and motivates both emerging talents and established filmmakers from all backgrounds in their artistic endeavours. It collectively strives to expand the creative space for film citizenship and celebrates the diverse forms of cinema. BISFF aims to provide a showcase for various genres of short films around the world every year and promote independent filmmaking of artistic merits, acknowledging and appreciating new perspectives and expressions, creating a space for inspiration to spark, a platform that stimulates cross-border conversations with contemporary art and technology worlds. Our programming tackles issues of contemporary social and aesthetic relevance, representing the strength and impact of independent cinema.<\/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":[621,620,280],"class_list":["post-11493","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":"\nPersonne<\/i><\/b><\/h2>\n
\n<\/span>International Title<\/em> Personne<\/i><\/b>
\n<\/strong>Country of Production<\/em> Germany
\n<\/strong>Language<\/em>\u00a0–<\/strong>
\n<\/strong>Subtitle<\/em>\u00a0\u00a0–<\/strong><\/p>\nDarkly Negative Prints<\/i><\/b><\/h2>\n
\n<\/span>International Title<\/em> Darkly Negative Prints<\/i><\/b>
\n<\/strong>Country of Production<\/em>\u00a0China
\n<\/strong>Language<\/em>\u00a0Chinese Mandarin
\n<\/strong>Subtitle\u00a0English<\/strong><\/em><\/p>\nThe Visitors<\/i><\/b><\/h2>\n
\n<\/strong>Country of Production<\/em>USA<\/strong>
\nLanguage <\/em>French<\/strong>
\n<\/strong>Subtitle\u00a0<\/em>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669146556257{margin-bottom: 0px !important;}”]Animasi<\/span> stop-motion <\/span><\/i>yang disusun dari kartu pos, foto, dan pengambilan video di pulau Mallorca, Spanyol. Pulau unik ini memiliki sejarah evolusi alam dan manusia yang panjang dan kompleks, dan luar biasa karena perpaduan lahan pertanian pedesaan, resor apik, dan pariwisata beranggaran rendah yang kotor – sangat bergantung pada wisatawan Inggris dan Jerman. Karya ini merepresentasikan pulau itu selama berabad-abad, mencatat perubahannya dan kunjungan yang sama-sama sementara. Perubahan ini termasuk dampak dari pariwisata massal dan perubahan alam, seperti kebakaran sikat biasa dan invasi Asian Palm Weevil yang aktif memusnahkan pohon palem \u2014 ikon liburan pantai.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669146570538{margin-bottom: 0px !important;}”]A stop-motion animation compiled of postcards, photographs and video shot on the Spanish island of Mallorca. This unique island has a long and complex history of natural and human evolution, and is remarkable for its blend of rustic farmland, chic resorts, and grimy low-budget tourism – heavily dependent on British and German vacationers. This work represents the island through the centuries, chronicling its changes and equally temporary visitations. These changes include the impact of mass tourism and natural alterations, such as the common brush fires and the invasive Asian Palm Weevil that has been decimating the palms\u2014 icons of beach vacations.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1669146428730-3d691720-cf60″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11522″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669146590689{margin-bottom: 0px !important;}”]Seniman kelahiran Inggris dan sekarang tinggal di AS, Rob Carter menggunakan fotografi, animasi video, dan instalasi. Dia menerima gelar BFA dari The Ruskin School of Drawing and Fine Art di Universitas Oxford dan kemudian menerima gelar MFA di Studio Art dari Hunter College di New York.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669146854661{margin-bottom: 0px !important;}”]British-born and now US-based, artist Rob Carter uses photography, video animation, and installation. He received his BFA from The Ruskin School of Drawing and Fine Art at Oxford University and later received an MFA in Studio Art from Hunter College in New York.<\/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=”1669146995713-7ec285fa-8935″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11525″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669147103070{margin-bottom: 0px !important;}”]\nPleng-Krom-Dek<\/i><\/b><\/h2>\n
\n<\/span>International Title<\/em> Lullaby<\/i><\/b>
\n<\/strong>Country of Production<\/em> Thailand<\/em>
\n<\/strong>Language Thai<\/strong><\/em>
\n<\/strong>Subtitle English<\/strong><\/em><\/p>\n2069<\/i><\/b><\/h2>\n
\n<\/span>International Title<\/em> A Letter from Huami<\/i><\/b>
\n<\/strong>Country of Production<\/em> China, USA<\/em>
\n<\/strong>Language English, Chinese, Mandarin <\/strong><\/em>
\n<\/strong>Subtitle English<\/strong><\/em><\/p>\nNo One Cried<\/i><\/b><\/h2>\n
\n<\/span>International Title<\/em> No One Cried<\/i><\/b>
\n<\/strong>Country of Production<\/em> Netherlands, Germany
\n<\/strong>Language English<\/strong><\/em>
\n<\/strong>Subtitle English<\/strong><\/em><\/p>\nImperial Irrigation<\/i><\/b><\/h1>\n
\n<\/span>Country of Production<\/em> Germany, Austria
\n<\/strong>Language English<\/strong><\/em>
\n<\/strong>Subtitle –<\/strong><\/em><\/p>\n