{"id":11970,"date":"2023-09-24T08:32:12","date_gmt":"2023-09-24T01:32:12","guid":{"rendered":"https:\/\/arkipel.org\/?p=11970"},"modified":"2023-09-25T09:08:21","modified_gmt":"2023-09-25T02:08:21","slug":"nmt-ic2-2","status":"publish","type":"post","link":"https:\/\/arkipel.org\/nmt-ic2-2\/","title":{"rendered":"Noli Me Tangere – International Competition 2"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1695607693136{margin-bottom: 0px !important;}”]\n

Membingkai Ulang Realitas
\n<\/b><\/strong>Re-framing Reality<\/b><\/em><\/span><\/h1>\n

Host<\/em> Wahyu Budiman Dasta<\/strong><\/p>\n

25 September 2023 \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_1695492781473{margin-bottom: 0px !important;}”]Filem memiliki kemampuan untuk menggugah emosi, merangsang pemikiran kritis, dan menggambarkan realitas yang mungkin berbeda dengan narasi yang telah ada atau yang telah lampau. Filem kerap menjadi cermin yang merefleksikan realitas melalui sudut pandang yang khusus, menggambarkan kisah dan peristiwa dengan cara yang unik. Filem memungkinkan penonton untuk melihat realitas dari perspektif yang lebih mendalam, mengungkapkan aspek-aspek yang mungkin tersembunyi atau terabaikan oleh pandangan umum.<\/span><\/p>\n

Filem bisa menggambarkan upaya individu-individu untuk berbicara atau berkomunikasi dengan menggunakan metode atau pendekatan yang indah, halus, atau persuasif. Filem <\/span>Fatima<\/span><\/i>, yang disutradarai oleh Sourabh Kanti Dutta dari India, menggambarkan upaya seorang tokoh aktivis lokal yang berusaha mengubah kehidupan masyarakat dan dirinya sendiri, di salah satu wilayah India melalui perjuangan panjang. Dalam konteks sistem kasta yang ada, beberapa orang yang tidak memiliki status kasta akan selalu dihadapkan pada hambatan akses yang mereka hadapi dalam mencoba menyuarakan perubahan.\u00a0<\/span><\/p>\n

Sistem kasta di India telah lama membuka peluang diskriminasi di dalam masyarakat. Hal ini terungkap dalam pembingkaian sosok Fatima dalam filem <\/span>Fatima<\/span><\/i>, menggunakan bahasa advokasi yang keras, mengikuti cara keras Fatima menerobos batas-batas untuk mengatasi masalah bagi kaum perempuan khususnya, yang sudah mengakar dan sulit diatasi dalam waktu yang lama. Tindakan penerobosan batas ini secara sadar dapat berkembang melalui pengulangan-pengulangan aksi yang dilakukannya.<\/span><\/p>\n

Dalam kasus Fatima, filem hanya sebuah alat yang digunakan untuk mengilustrasikan atau memvisualisasikan gagasan atau menyampaikan perubahan dalam hidup perempuan melalui narasi visual. Melalui tindakan dan ekspresi, tubuh aktor menjadi simbol fisik dari perubahan yang terjadi dalam sikap diri dan sosial. Filem dan aparatus kameranya, dengan gamblang mengikuti arahan Fatima yang membuka sekat-sekat yang seharusnya sulit ditembus, sehingga semua persoalan tampak jelas akar-akarnya. Hal ini dapat mengkomunikasikan proses berlangsungnya sebuah masalah tersebut kepada penonton secara telanjang. Penonton diarahkan oleh kerja sama sutradara, dan lebih tepatnya oleh Fatima, untuk menelisik sudut pandang jejak langkah dan ekspresi tubuh Fatima dan lingkungannya. Kekuatan kerjasama produksi filem dan aktivisme radikal Fatima, mampu mencerminkan semangat perubahan dan keberanian individu untuk berdiri melawan norma-norma sosial yang membatasinya.<\/span><\/p>\n

Kekuatan perkembangan teknologi dan media dan eksperimentasi para pelaku kreatifnya, telah mengungkap kompleksitas kehidupan masyarakat. Perkembangan media dapat mengubah cara masyarakat berhubungan dan berkomunikasi di era modern. Salah satu manfaat kultural dari perkembangan filem, yaitu visual, suara, narasi, dan pengaruh emosional, dapat menggambarkan kisah-kisah yang berhubungan dengan berbagai aspek kehidupan manusia. Hal itu dimulai dari politik, sosial, hingga budaya dan psikologi, sambil juga menyoroti potensi konflik yang mungkin akan timbul dari pandangan yang mapan.<\/span><\/p>\n

Dalam konteks perkotaan yang terus berkembang, seringkali proses urbanisasi yang cepat dapat mengancam ekosistem alami dan keanekaragaman hayati. Penebangan hutan, perubahan lahan, dan pengembangan infrastruktur perkotaan dapat mengakibatkan hilangnya habitat alami bagi berbagai jenis tumbuhan dan hewan. Pada filem <\/span>Secret Garden<\/span><\/i> yang disutradarai oleh Nour Ouayda dari Lebanon, munculnya tanaman aneh di kota tersebut menjadi peristiwa yang sangat misterius dan menarik bagi penduduknya. Dua tokoh, Camelia dan Nahla, yang hanya dikenalkan melalui sebuah narasi, yang memiliki minat dan keinginan untuk mengungkap misteri ini, menjadi tokoh sentral dalam kisah ini. Metode sastrawi yang dinarasikan sebagai dongeng delapan babak ini dimaksudkan sebagai menjadi pola komunikasi kedua subjek dengan tanaman-tanaman yang aneh ini.\u00a0<\/span><\/p>\n

Proses domestikasi tanaman liar sebagai tanaman kota mendorong masyarakat untuk mempertimbangkan ulang hubungan mereka dengan alam di tengah perkembangan perkotaan yang pesat. Tingkat kesadaran masyarakat tentang pentingnya konservasi keanekaragaman hayati dan perlunya menjaga alam di tengah pertumbuhan pesat tersebut semakin meningkat, termasuk mendokumentasikannya dalam bentuk sinema. Seperti sebuah dongeng yang memungkinkan kita untuk melihat bagaimana tanaman-tanaman ini terus tumbuh dan berkembang dengan kecepatan yang mengagumkan.\u00a0<\/span><\/p>\n

Keajaiban alam dan perubahan yang tidak bisa mereka kendalikan, digambarkan dalam filem ini sebagai perawatan kesadaran akan mengkatalogisasi dengan dongeng seluloid. Gaya gerak kamera yang terasa secara sadar dalam mendokumentasikan perkembangan kota yang pesat adalah sebuah aspek kreatif yang dapat menggambarkan perubahan lingkungan perkotaan dengan cara yang unik dan berkesan. Seperti kerja membuat herbarium sinematik.\u00a0<\/span><\/p>\n

Sementara, dengan menyandingkan gambar bergerak dengan gambar diam fotografis dalam filem <\/span>Periphery of The Wind,<\/span><\/i> sutradara Reza Kutjh mungkin berusaha untuk menghadirkan pengalaman yang lebih dalam dan multidimensional bagi penontonnya. Ini adalah cara untuk memahami bagaimana kita sebagai individu meresapi dan merespons dunia di sekitar kita, serta bagaimana pengalaman visual dapat menjadi lebih kaya dan bermakna ketika digabungkan dengan unsur-unsur sensoris lainnya.<\/span><\/p>\n

Kesadaran sutradara membingkai gambar diam menegaskan pola gerak pada unsur-unsur yang telah terekam. Pada dasarnya kamera tidak mampu merekam angin, kecuali apa yang bisa digerakkan olehnya, seperti pucuk-pucuk pohon atau rerumputan. Asumsi penggunaan gambar diam yang disusun bersisian dengan gambar bergerak itu, seperti ingin menangkap batas-batas angin di atas berbagai lanskap lokasi tertentu dengan citra fotografis. Proses ini pada dasarnya berfungsi untuk mencatat sejarah sebuah lokasi.\u00a0<\/span><\/p>\n

Masyarakat hari ini telah menyadari kekuatan mereka untuk mencapai perubahan, terutama berkat pertumbuhan pengetahuan yang terus berkembang. Dengan semakin melimpahnya informasi dan pemahaman tentang bingkaian pada sebuah filem, masyarakat memiliki potensi untuk mengatasi hambatan dan batasan yang telah mengakar dalam sistem yang telah mapan dan berlaku selama waktu yang lama. Ini merujuk pada usaha ketiga sutradara dalam kuratorial ini untuk melampaui norma, aturan, dan batasan yang telah lama ada, sehingga menghasilkan perubahan besar dalam cara berpikir, bertindak, dan berinteraksi dalam masyarakat.<\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1695492846317{margin-bottom: 0px !important;}”]Films have the ability to evoke emotions, stimulate critical thinking, and depict realities that may differ from existing or past narratives. Films are often mirrors that reflect reality through a particular point of view, depicting stories and events in a unique way. Films allow viewers to see reality from a deeper perspective, revealing aspects that may be hidden or overlooked by the general view.<\/span><\/p>\n

Films can depict the efforts of individuals to speak or communicate using beautiful, subtle, or persuasive methods or approaches. The film <\/span>Fatima<\/span><\/i>, directed by Sourabh Kanti Dutta from India, depicts the efforts of a local activist figure who seeks to change the lives of the community and herself, in one part of India through a long struggle. In the context of the existing caste system, some people who do not have caste status will always be faced with access barriers that they face in trying to voice change.\u00a0<\/span><\/p>\n

The caste system in India has long opened up opportunities for discrimination in society. This is revealed in the framing of the figure of Fatima in the film <\/span>Fatima<\/span><\/i>, using the language of strong advocacy, following Fatima’s hard way of breaking through boundaries to overcome problems for women in particular, which have been entrenched and difficult to overcome for a long time. This act of boundary-breaking can consciously develop through the repetition of her actions.<\/span><\/p>\n

In Fatima’s case, film is only a tool used to illustrate or visualize ideas or convey changes in women’s lives through visual narratives. Through actions and expressions, the actor’s body becomes a physical symbol of the changes that occur in personal and social attitudes. The film and its camera apparatus clearly follow Fatima’s direction, opening up barriers that would otherwise be impenetrable, so that the roots of all problems are apparent. This communicates the process of a problem to the audience in a naked way. The audience is directed by the director’s collaboration, and more precisely by Fatima, to examine the point of view of the footsteps and expressions of Fatima’s body and her environment. The power of the cooperation between the production of the film and Fatima’s radical activism, is able to reflect the spirit of change and the courage of individuals to stand up against the social norms that limit them.<\/span><\/p>\n

The power of technological and media developments and the experimentation of creative actors have revealed the complexity of people’s lives. Media developments can change the way people relate and communicate in the modern era. One of the cultural benefits of the development of film, namely visuals, sound, narration, and emotional impact, can depict stories that relate to various aspects of human life. These range from political, social, to cultural and psychological, while also highlighting potential conflicts that may arise from established views.<\/span><\/p>\n

In the context of growing cities, rapid urbanization can often threaten natural ecosystems and biodiversity. Deforestation, land conversion and the development of urban infrastructure can result in the loss of natural habitats for various plant and animal species. In the film <\/span>The Secret Garden<\/span><\/i>, directed by Lebanese Nour Ouayda, the appearance of strange plants in the city is a very mysterious and interesting event for its residents. Two characters, Camelia and Nahla, who are only introduced through a narration, who have an interest and desire to unravel this mystery, become the central characters in this story. The literary method, narrated as an eight-act fable, is intended to be a pattern of communication between the two subjects and these strange plants.\u00a0<\/span><\/p>\n

The process of domestication of wild plants as urban plants encourages people to reconsider their relationship with nature in the midst of rapid urban development. The level of public awareness about the importance of biodiversity conservation and the need to protect nature amidst such rapid growth is increasing, including documenting it in the form of cinema. Like a fairy tale, it allows us to see how these plants continue to grow and evolve at an astonishing rate.\u00a0<\/span><\/p>\n

The wonders of nature and the changes they cannot control are depicted in this film as a conscious treatment of cataloging with celluloid tales. The conscious camerawork in documenting the city’s rapid development is a creative aspect that can depict the changing urban environment in a unique and memorable way. Like the work of creating a cinematic herbarium.\u00a0<\/span><\/p>\n

Meanwhile, by juxtaposing moving images with photographic stills in <\/span>Periphery of the Wind<\/span><\/i>, director Reza Kutjh may be attempting to bring a deeper, multidimensional experience to his audience. It is a way of understanding how we as individuals perceive and respond to the world around us, and how visual experiences can become richer and more meaningful when combined with other sensory elements.<\/span><\/p>\n

The director’s awareness of framing still images emphasizes the patterns of motion in the elements that have been recorded. The camera is basically incapable of recording the wind, except for what it can move, such as tree tops or grass. The assumption of using still images arranged alongside moving images is like trying to capture the boundaries of the wind over the landscape of a particular location with a photographic image. This process essentially serves to record the history of a location.\u00a0<\/span><\/p>\n

People today have realized their power to achieve change, especially thanks to the growth of knowledge. With the abundance of information and understanding of film framing, society has the potential to overcome barriers and limitations that have been entrenched in long-established systems. This refers to the three directors’ attempts to transcend long-established norms, rules and boundaries, resulting in profound changes in the way society thinks, acts and interacts.<\/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=”11888″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695493354540{margin-bottom: 0px !important;}”]\n

\u0627\u0644\u062d\u062f\u064a\u0642\u0629 \u0627\u0644\u0633\u0631\u064a\u0651\u0629
\nThe Secret Garden<\/h2>\n

Filmmaker <\/em>Nour Ouayda<\/strong>
\n<\/strong>Country of Production<\/em> Lebanon
\n<\/strong>Language<\/em> Arabic
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

28 min, Stereo, Color,\u00a0 2023<\/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_1695493476205{margin-bottom: 0px !important;}”]Sebuah filem yang terdiri dari 8 babak, dimana cerita disampaikan melalui bentuk sebuah dongeng untuk menggambarkan perkembangan tumbuhan di tengah kehidupan kota yang pesat dan ramai. Tumbuhan-tumbuhan ini menjadi elemen utama dalam narasi visual filem, dan yang menarik adalah bagaimana tumbuhan-tumbuhan tersebut muncul secara alamiah dalam konteks perkembangan kota yang serba cepat.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695493497080{margin-bottom: 0px !important;}”]A film consisting of 8 acts, where the story is told through the form of a fairy tale to illustrate the development of plants in the midst of rapid and bustling city life. These plants become the main element in the visual narrative of the film, and what is interesting is how these plants emerge naturally in the context of fast-paced urban development.<\/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=”11971″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695493624864{margin-bottom: 0px !important;}”]Nour Ouayda, pembuat film, kritikus, dan programmer, fokus pada penelitian-kreasi. Karya film dan video eksperimennya mencakup beragam bentuk penulisan fiksi sinema. Ia wakil direktur di Asosiasi Sinema Metropolis Beirut, mengelola proyek Cinematheque Beirut, serta editor jurnal film online Montreal, Hors Champ, dan anggota Komite Camelia bersama Carine Doumit dan Mira Adoumier.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695493639559{margin-bottom: 0px !important;}”]Nour Ouayda, filmmaker, critic, and programmer, focuses on creation-research. Her experimental film and video work encompasses various forms of cinema fiction writing. She is deputy director at the Beirut Metropolis Cinema Association, manages the Cinematheque Beirut project, as well as editor of Montreal’s online film journal Hors Champ, and member of the Camelia Committee with Carine Doumit and Mira Adoumier.<\/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=”1695493760903-0818e766-80f1″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11866″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695517516108{margin-bottom: 0px !important;}”]\n

Fatima<\/b><\/h2>\n

Filmmaker<\/em>Sourabh Kanti Dutta
\n<\/strong>Country of Production<\/span><\/i> India<\/strong>
\n<\/span>Language<\/span><\/i> Hindi<\/strong>
\n<\/span>Subtitles<\/span><\/i> English<\/strong><\/p>\n

59 min, Stereo, Color,\u00a0 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_1695493476205{margin-bottom: 0px !important;}”]Sebuah filem yang terdiri dari 8 babak, dimana cerita disampaikan melalui bentuk sebuah dongeng untuk menggambarkan perkembangan tumbuhan di tengah kehidupan kota yang pesat dan ramai. Tumbuhan-tumbuhan ini menjadi elemen utama dalam narasi visual filem, dan yang menarik adalah bagaimana tumbuhan-tumbuhan tersebut muncul secara alamiah dalam konteks perkembangan kota yang serba cepat.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695493497080{margin-bottom: 0px !important;}”]A film consisting of 8 acts, where the story is told through the form of a fairy tale to illustrate the development of plants in the midst of rapid and bustling city life. These plants become the main element in the visual narrative of the film, and what is interesting is how these plants emerge naturally in the context of fast-paced urban development.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1695493760988-3e5d8a45-423a”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11973″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695518298114{margin-bottom: 0px !important;}”]Sourabh Kanti Dutta adalah seorang sineas berpengalaman selama dua dekade di film, televisi, dan dokumenter. Debut penyutradaraannya, <\/span>I am Bonnie<\/span><\/i>, memenangkan penghargaan di berbagai festival internasional. Dia juga menerima penghargaan sinematografi untuk karyanya. Lulusan sejarah dan pembuat film otodidak, Sourabh terus menciptakan karya-karya dokumenter yang menarik dan berpengaruh, termasuk film terbarunya, <\/span>Fatima.<\/span><\/i>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695518306135{margin-bottom: 0px !important;}”]Sourabh Kanti Dutta is a filmmaker with two decades of experience in film, television and documentaries. His directorial debut, <\/span>I am Bonnie<\/span><\/i>, won awards at various international festivals. He has also received cinematography awards for his work. A history graduate and self-taught filmmaker, Sourabh continues to create engaging and influential documentaries, including his latest film, <\/span>Fatima<\/span><\/i>.<\/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=”1695518338439-a79af510-8b4b”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11883″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695566923083{margin-bottom: 0px !important;}”]\n

Periphery of the Wind<\/h2>\n

Filmmaker <\/em>Reza Kutjh<\/strong>
\n<\/strong>Country of Production<\/span><\/i> Indonesia<\/strong>
\n<\/span>Language<\/span><\/i> No Dialogue<\/strong>
\n<\/span>Subtitles<\/span><\/i> –<\/strong><\/p>\n

24 min, Stereo, Color,\u00a0 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_1695518941596{margin-bottom: 0px !important;}”]Pembingkaian gambar bergerak secara fotografis menjadi elemen penting dalam filem ini untuk membaca konteks sejarah lokasi yang terekam. Gambar diam yang disusun bersisian dengan gambar bergerak menjadi sebuah pernyataan yang kuat tentang bagaimana praktik bingkai dalam filem ini untuk mencoba membaca ulang hubungan antara analog dan digital dalam menginterpretasikan konteks sejarah lokasi.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695518956866{margin-bottom: 0px !important;}”]The photographic framing of moving images becomes an important element in this film to read the historical context of the recorded location. Still images arranged alongside moving images become a strong statement about how the frame practice in this film tries to re-read the relationship between analog and digital in interpreting the historical context of the location.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1695518338573-308f806f-101b”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11974″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695519054506{margin-bottom: 0px !important;}”]Reza Kutjh (Yogyakarta, 1994), seniman visual, lulus dari Jurusan Seni Rupa Murni Institut Seni Indonesia. Karyanya, meliputi fotografi, seni cetak, dan arsip, sering mengulas kehidupan sehari-hari, ingatan, serta ruang. Terlibat dalam proyek lintas disiplin tentang perubahan lahan di pantai selatan Yogyakarta. Pameran tunggal “For a While” di Lir Space 2018, aktif berpameran, dan anggota kolektif Barasub yang fokus pada seni sekuensial. Saat ini, melakukan penelitian visual dan proyek seni berbasis arsip di Unhistoried.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695519066417{margin-bottom: 0px !important;}”]Reza Kutjh (Yogyakarta, 1994), a visual artist, graduated from the Fine Arts Department of Institut Seni Indonesia. His work, which includes photography, printmaking and archives, often examines everyday life, memory and space. He is involved in an interdisciplinary project on land change on the south coast of Yogyakarta. Solo exhibition “For a While” at Lir Space 2018, actively exhibiting, and member of Barasub collective focusing on sequential art. Currently, conducting visual research and archive-based art projects at Unhistoried.<\/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_single_image image=”12073″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695550309872{margin-bottom: 0px !important;}”]Wahyu Budiman Dasta<\/b><\/p>\n

Wahyu Budiman Dasta (Jakarta, 2 Januari 1992), biasa dipanggil Walay, adalah seorang seniman, sutradara, peneliti arsip, dan art handler yang saat ini tinggal dan bekerja di Jakarta. Salah satu anggota Forum Lenteng. Di organisasi tersebut, ia bertanggung jawab untuk divisi produksi, dan juga menjadi tim pengarsipan untuk program visual jalanan. Ia juga terlibat sebagai <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695550285878{margin-bottom: 0px !important;}”]Wahyu Budiman Dasta<\/b><\/p>\n

Wahyu Budiman Dasta (Jakarta, 1992), known as Walay, is an artist, director, archive researcher, and art handler who currently lives and works in Jakarta. He is a member of Forum Lenteng. In the organisation, he is responsible for the Production Division and also serves as an archiving team member for the Visual Jalanan program. He is also actively involved as a primary participant in the Milisifilem Collective platform and the 69 Performance Club, both initiated by the same organisation.<\/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":11888,"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":[654,344],"tags":[192,656,655],"class_list":["post-11970","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arkipel-2023-noli-me-tangere","category-international-competition-program","tag-international-competition","tag-nmt","tag-nmt-program"],"jetpack_publicize_connections":[],"yoast_head":"\nNoli Me Tangere - International Competition 2 — ARKIPEL<\/title>\n<meta name=\"description\" content=\"From these two bodies of water that contain the heartbeat of civilization since prehistoric times, the filmmakers become archaeologists who excavate daily life in (physical and digital) locations and find pieces that unravel the continuity of history, be it in the form of humming or statues buried deep underground, Mini DV, celluloid and a computer\u2019s recycle bin. 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